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A Nightmare on Elm Street
We're not usually ones to advocate for more skin in a non-'skin-flick' (well, okay— we are), but this is one of those rare instances where a film broaches the risky 'too-serious' shooting style for a premise as implausible and silly as they come. What would fix this? Surely taking a deep breath and letting go of the pretence, embracing the silliness and giving people as much titillation as possible. Heck—it worked for Wes Craven's original film back in 1984 and again most recently with 'Jennifer's Body'. Unfortunately, 'A Nightmare on Elm Street' is neither as enjoyably schlock as the original or as slickly produced (and marketed) as the successful Megan Fox creature feature.
For those unfamiliar with the dubiously "classic" original, A Nightmare on Elm Street is a slasher-film in the purest sense, revolving around the killing of teens – and lots of them. The villain is the iconic Freddy Krueger, a being who haunts his victims in their dreams, breaking through to their waking lives to tear them apart with his single finger-bladed glove.
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Land of the Lost
Sid & Marty Krofft's 1970s cult classic TV series Land of the Lost has been brought to big screen life courtesy of director Brad Silberling and star Will Ferrell. The movie keeps the basic premise of the show -- two males and a female find themselves transported through a space-time vortex into an inter-dimensional world populated by aliens and dinosaurs -- but changes the main characters from a scientist-dad and his two kids to a scientist and two adult companions.
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(500) Days of Summer
Early in “(500) Days of Summer” the omniscient narrator who intermittently (and somewhat annoyingly) comments on the action cautions that the movie is “not a love story.” The print advertisements qualify his words, describing this slight, charming and refreshingly candid little picture as “a story about love.” Which it is: a story about how love can be confusing, contingent and asymmetrical, and about how love can fail. Given all this, it’s somewhat remarkable that “(500) Days,” the feature directing debut of the music video auteur Marc Webb, is neither depressing nor French.
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Going against the grain of all those stereotypical sex object or saintly roles that actresses usually get stuck with in movies, Katherine Heigl is definitely into trying out what's new and different, and we're not just talking dresses. And whether or not those characters signify any improvement, Heigl doesn't mind at all doing unattractive, so the heck with vanity. Moving on from her cranky nag in Knocked Up (one of two first-date Fertile Myrtles on the screen last year, along with Ellen Page in Juno), Heigl conversely gets immersed in the role of your typical self-effacing female doormat for Anne Fletcher's 27 Dresses.
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El secreto de sus ojos
The money shot in The Secret in Their Eyes (El secreto de sus ojos) arrives exactly at the middle of the film: From the sky above Buenos Aires, the camera vertiginously swoops down on a bustling soccer stadium during a match, settling on two investigators in the cheering throng as they chase down a murder suspect through the stands, across the field -- even into the bathroom -- without a single cut.
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One of the positive qualities often attributed to movies in which Judd Apatow claims involvement (here, he's listed as a producer) is that, beneath all the raunchiness and profanity, lies a core of sweetness. It's the Tootsie Pop philosophy of R-rated comedies. Bridesmaids contains many of the common characteristics of Apatow movies, as filtered through the pens of screenwriters Kristen Wiig and Annie Mumolo and the directorial stewardship of Paul Feig. However, at the center lies not a pleasurable confection but the bitterest bile. Bridesmaids is bipolar filmmaking at its most disconcerting, with changes in tone so abrupt that they can cause whiplash. In part because of this and in part because the writing is often lazy and self-indulgent, the movie rarely works. The setup is ripe for a black comedy but the movie never fully embraces the darkness and the level of humor is on par with the limp skits for which Wiig is responsible on Saturday Night Live.
One Last Thing
Perhaps I am unduly harsh on motion pictures that waste a promising premise. One Last Thing is a case in point - the underlying concept is rich with possibilities, yet director Alex Steyermark (Prey for Rock 'n Roll) and writer Barry Stringfellow opt to take the easy way out. There's cloying melodrama, an uplifting final scene, and little in the way of real drama in between. There are things to like about the film. In particular, the acting is solid across-the-board, but the weak script would feel more at home in a made-for-cable movie than in something produced for the big screen.
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Walk Hard: The Dewey Cox Story
If nothing else, at least it can be said that Walk Hard is not just another lame, humorless attempt at lampooning a popular genre. Perhaps due to the co-authorship of Judd Apatow or perhaps because Jake Kasdan aspires to be more than this generation's version of ZAZ (see: Airplane!, The Naked Gun), this film works better than the countless recent failures to come before it. That's not to say it's comedic brilliance. A lot of the jokes don't work. There are times when the movie spins its wheels. And the songs are rarely funny or clever enough. But there are laughs to be had and, perhaps surprisingly, I found myself caring a little about the character of Dewey Cox as the story develops. Sure, he's a walking collection of cobbled together clichés, but John C. Reilly provides him with a human quality that never gets lost amidst all the physical comedy and double entendres.
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Many years ago, during the Golden Age of Hollywood, the motion picture industry practically ran on star power. These days, in large part because of skyrocketing salaries, it's unusual to find more than one high-profile performer in any given motion picture. The Score, however, boasts three of them - aging icon Marlon Brando, Scorsese favorite Robert De Niro, and the up-and-coming Edward Norton. Admittedly, this sounds like an unbeatable combination to fashion a top-notch caper flick, but, like 1998's disappointing Twilight, The Score proves that a cast with high-wattage names isn't enough. The script needs to be on par with the acting talent, and, at least in this case, it isn't. The Score is let down by the screenwriters.
Now begins a period of prayer for Eddie Murphy - he must pray that no one who can cast a Best Supporting Actor vote in the 2007 Oscar race will see Norbit, because no one in their right mind could think of providing an honor to anyone involved in this misfire, Murphy included. All the goodwill built up for the actor as a result of Dreamgirls is cast aside by Norbit. The movie combines with Hannibal Rising to form an odd configuration on their shared opening weekend: Hannibal Rising is a horror movie that's unintentionally comedic and Norbit is a comedy that's unintentionally horrifying. (Its mere existence is enough to cause that reaction.)
New in Town
Spoiler Alert: To the extent that the term "spoiler" can be applied to something this formulaic, I suppose I ought to warn readers that I talk in general terms about how the movie ends.
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It's hard to believe that The American President was made by the same man responsible for the no-holds-barred satire of This Is Spinal Tap. Is there any element of American culture more ripe for the humorist's razor-sharp wit than presidential politics? Yet, heedless of what it might have been, this film is content to hunker down in the valley of feel-good entertainment, sacrificing intelligent plotting for mass appeal. While neither bad nor unwatchable, The American President is nevertheless the second straight disappointment from director Rob Reiner (his previous effort being North).
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The descendants of the first ones to travel space are regarded as people of lesser worth. Half a millennium after the first ships launched in search of a better life, the Pilgrims still are discriminated. When the Kilrathi declare war against the human race, it is up to Christopher Blair, Pilgrim halfling, to help avoid complete annihilation. Since the Kilrathi managed to conquer a Navcom unit, they know the jump coordinates to Earth. And since the terran fleet is two hours further away from home than the Kilrathi fleet, the only hope of Mankind is to set trust in a Pilgrim, who can astrogate by feeling and does not need a Navcom unit - its all genetics.
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Homeless to Harvard: The Liz Murray Story
Based on a true story. Liz Murray is a young girl who is taken care of by her loving, but drug-addicted parents. Liz becomes homeless at 15 and after a tragedy comes upon her, she begins her work to finish high school.
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Last Call aka Against the Current
F. Scott Fitzgerald spent a lifetime battling demons - alcohol and a schizophrenic wife - and yet, wrote some of the greatest novels in American Literature. Despite a tumultuous relationship with his mistress, his ailing wife, declining health, and his daily drinking binges, Fitzgerald secretly wrote a scathing novel about the film industry which some call his best novel. It was his final triumph. Last Call is based on a true story about this troubled genius, starring Oscar, Emmy, and golden globe winner Jeremy Irons, Neve Campbell, and Academy Award winner Sissy Spacek.
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Marlowe (Cop Dog)
A heart felt tale about a boy and his dog who set out to solve the death of the young boys father.
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