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Stylish but shallow, action-packed but without ever being exciting, Terminator Salvation is a movie that looked amazing as a trailer, but doesn't stand up as a 115 minute film.
Technically a prequel, the movie takes place in 2018, 15 years after 'Judgement Day' - the long-hinted at nuclear apocalypse that occurred at the end of Terminator 3: Rise of the Machines - when Skynet pre-emptively struck against humanity. Christian Bale is John Connor, a key figure in the fight against the machines - but not yet leader of the human resistance.
Everything in Connor's life is proceeding exactly as he was forewarned by his mother Sarah - that is until he encounters Marcus Wright (Sam Worthington) - a stranger whose last memory was being on death row. The origins of Wright lead the pair to embark on a dangerous mission into the heart of Skynet.
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German filmmaker Tom Tykwer never saw a glass partition he didn’t want to film, yet there’s something bracing about watching his reflex glossiness (see Run Lola Run, Heaven) applied to a pure genre exercise. This particular Parallax View knockoff has been directed with an almost mathematical sleekness: The gods always descend on cue, and the gripping central set piece answers the question “How many people can trail an assassin around the Guggenheim without being spotted?”
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The Bourne Ultimatum
If nothing else, The Bourne Ultimatum represents the best of 2007's inordinately high number of so-called "threequels." Hopefully, that's not damning with faint praise. The Bourne Ultimatum, the third in the movie trilogy loosely based on Robert Ludlum's novels, is superior to its immediate predecessor but not quite as good as the original. The action is this movie is top-notch (despite the spastic camera) - full of suspense and kinetic energy - but the film doesn't have as much heart or emotional depth as The Bourne Identity. As with The Bourne Supremacy, this movie diverts so far from its "source material" that the only things retained from Ludlum's novel are the title and some of the character names. (Shades of how the James Bond movie producers approached many of Ian Fleming's books.) Ludlum's version of The Bourne Ultimatum is completely different from the one penned by Tony Gilroy and directed by Paul Greengrass.
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Hollywood has cornered the market on teen spy movies for a while, and now the British are getting in on the action with their own version. Enter Alex Rider, junior secret agent. Or, actually, reluctant junior secret agent. Based on the series of adventure novels by Anthony Horowitz (who also pens the screenplay), “Stormbreaker” is, alas, an ultimately drab affair that, even at under 90 minutes, seems much longer. Maybe it’s a British thing, or just uninspired direction by Geoffrey Sax (“White Noise”), but “Stormbreaker” barely breaks a sweat, and in the process, barely elicits more than a couple of mild chuckles.
Unknown White Male
A phrase I remember from a long-ago TV show argued: "A person is the sum of his memories." If that's the case, what's to be said about an adult man who loses his entire past in the span of one night? Does a loss of memory equate to a loss of identity? And how can someone who no longer knows his name, his favorite color, or his preferred food, speak with a rich vocabulary, scribble a signature on a piece of paper, and perform a barrage of everyday tasks? For biologists and psychologists, such an individual becomes a living experiment to test the "nature versus nuture" theory. How much of who we are is determined by genetics and how much is the result of the environment in which we develop?
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Years ago, while watching Delicatessen (in 1992) and The City of Lost Children (in 1995), I wondered which of the co-directors, Jean-Pierre Jeunet or Marc Caro, was more responsible for the films' quirky tone and striking visual style. Although Caro hasn't made a film since The City of Lost Children, Jeunet has continued in the business, accepting the Hollywood offer to helm Alien: Resurrection, then returning to his native France to direct Amelie. With the release of this movie, which has won critical accolades across the world, become one of the most popular home-grown films of all time in France, and captured the audience award at the 2001 Toronto International Film Festival, I have learned the answer to my question. Amelie makes it clear that the primary creative force behind the earlier films' stylistic uniqueness was Jeunet.
Goodbye Solo is a simple character drama that chronicles the interaction between a man who wants to end his life with dignity on his own terms and the Good Samaritan who believes there must be another way. On the surface, Goodbye Solo might appear to be cut from the same cloth as The Odd Couple, but Ramin Bahrani (whose previous features were Man Push Cart and Chop Shop) has fashioned something more subtle and sophisticated than a traditional "buddy movie." The movie is less about friendship than it is about respect and understanding. The lack of melodrama coupled with moments of quiet celebration make Goodbye Solo a more uplifting tale than one might expect with such a less-than-joyous premise.
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Star Trek: Nemesis
Is this the end of Star Trek? Has the long-running TV/film franchise finally reached the point where it can no longer seek out new life and new civilizations? After defeating Klingons, Romulans, and Borg, will the ultimate enemy – the multiplex box office – finally bring it down? Only time will answer those questions, but, with the arrival of Star Trek: Nemesis, the tenth Star Trek motion picture, the venerable series is looking outmoded and outdated. Media saturation and age have taken their toll.
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Ready to Wear
"[Ready to Wear/Pret-a-Porter] is just a silly little movie, it's not a serious epic. So just enjoy, laugh with it, have a good time. It's no big deal."
- Robert Altman, director of Ready to Wear
One wonders whether Robert Altman arrived at that conclusion before or after the much-anticipated Ready to Wear was complete. Despite some delicious moments, this sluggish, overlong, halfhearted satire feels like a movie that wanted to go somewhere but never got there. With punches pulled and fangs capped, this look at high fashion is not at all what was expected from the director of The Player, one of the most vicious and biting sendups of the last two decades.
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Flight of the Phoenix
The 1965 version of Flight of the Phoenix is not a great movie, but it has a lot more going for it than the second-rate 2004 re-imagination. Despite using the same premise and numerous identical plot points, this remake replaces suspense with boredom and witty dialogue with lame lines any self-respecting actor should be embarrassed to utter. The only thing better about the 2004 Flight of the Phoenix are the special effects, and there are times when the computer-generated imagery isn't convincing.
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The film starts with Cristina Moreno applying to Princeton University. She tells the story of her childhood in her college essay.
Flor Moreno (Paz Vega) is a poor, Mexican single mother who gets hired as the housekeeper for John (Adam Sandler) and Deborah Clasky (Téa Leoni), their kids Bernice (Sarah Steele) and Georgie (Ian Hayland), and Deborah's mother Evelyn Wright (Cloris Leachman), a rich American family. John is head chef at a popular restaurant, Deborah a former businesswoman turned stay-at-home mother and Evelyn a former jazz singer.
Pleasure of Your Company aka Wedding Daze
Against the advice of his best friend Ted (Michael Weston), Anderson (Jason Biggs) proposes to his girlfriend, Vanessa, publicly whilst dressed in a cupid costume. The shock of the proposal leads to her instantaneous death. Utterly devastated and distraught, Anderson quits his job and goes into mourning. Anderson is still obsessed with his perfect (and dead) former girlfriend and to help him move on, Ted persuades him to give romance one more try. To placate his friend, Anderson agrees. Right after, waitress Katie (Isla Fisher) comes over. On a whim, Anderson asks Katie to marry him, and to his utter astonishment, she accepts his proposal.
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Next Day Air
When a misguided delivery driver inadvertently delivers a package containing concealed bricks of cocaine to the wrong address, it sets in motion a desperate search and battle for the coke between the furious dealer that sent it, the fearful intended recipients that missed it, and the conniving accidental recipients that plan to flip it. Time is running out and everyones trying to get their hands on the package thats been sent...Next Day Air! DVD Quality PC, Mac, PS3 and XBOX 360 COMPATIBLE
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Lulu McAfee lives in a San Francisco home for mentally-ill adults. In June 1999, she bolts for L.A. and contacts Ben Clifton, an old flame, now unhappily writing for TV and unhappily married to a psychiatrist, Claire. Ben is ready to call Lulus doctor when she tells him they have a son, born after she became ill and their affair ended. He calls Claire to tell her hes driving Lulu to Wisconsin to meet the boy on his 16th birthday, a visit Lulu claims is arranged. On the drive, Lulu tries to rekindle the affair and restart Bens idealism. Meanwhile, Claire boards a plane to Madison to watch her marriage collapse. Is there really a son? What emotional landmines will the trip set off?
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Cynthia comes forward to talk to detective John about the murder of her best friends husband. The story is told as a series of flashbacks... James was a bullying, verbally and physically abusive husband. His wife Joyce has, on a number of occasions, expressed her intention to kill him. One night when all three are at the fair, Joyce has a row with James, and Cynthia helps James back to the van. But later he was found dead...
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