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Shari Springer Berman and Robert Pulcini's follow-up to their acclaimed American Splendor got mostly negative reviews, but that certainly wasn't the fault of their star.
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Playing a knocked-up, Esther Williams-like bathing-suited beauty with a filthy mouth and squawking Nu Yawk accent, Johansson is very funny — and gone all too quickly from the story.
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She makes a great double act with co-star Thora Birch as they compete to see who can deliver the most withering teenage putdown with the least amount of affect in her voice.
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Showing off impressive comic chops, Johansson is a hoot as a Jersey girl bombshell who makes co-star and director Joseph Gordon-Levitt's porn addict jump through every kind of hoop before she’ll put out for him.
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As Natasha Romanoff aka the Black Widow, Johansson projects a slippery intelligence and steely resolve, flaunted to great effect.
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This silly exercise in style over substance finds Johansson playing a drug mule who becomes a kind of kick-ass deity when one of the substances implanted in her leaks.
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Johansson shines as a vampish, vulnerable American in London who embarks on an affair with Jonathan Rhys Meyers' upwardly mobile tennis pro in Woody Allen's study of crime and punishment.
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Even though only Johansson's husky voice is heard in Spike Jonze's sci-fi romance, she completely holds her own as an artificially intelligent operating system with whom user Joaquin Phoenix falls, understandably, in love.
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Johansson's sweet-sour blend of gawkiness and gravel-voiced street smarts makes her utterly compelling as a young wife adrift in Tokyo.
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Arguably Johansson's most subtle and nuanced performance was as an alien on the prowl for man-meat in Jonathan Glazer's slow-burn sci-fi.
Image: A24/Photofest