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Edge of Darkness
Director Martin Campbell (Casino Royale, Green Lantern) revisits the Edge of Darkness in this truncated, Americanized retelling of the award-winning British TV miniseries he directed back in 1985. The original miniseries was one of a number of UK political thrillers, including Defence of the Realm and Hidden Agenda, made during and commenting on the Thatcher era. The feature film remake keeps the basic premise of the small screen original -- a cop uncovers political intrigue and corporate corruption while investigating the murder of his daughter -- while updating what the villains are up to.
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If nothing else, Ninja Assassin is true to its title. There are ninjas, and yes, they assassinate the hell out of people. And if that's all that you're looking for in this stylized action flick, then certainly the film will deliver on the promise of its title. But if you're looking for anything resembling an actual movie -- with a story, a plot, performances, nuance, etc. -- you'll likely find yourself at least mildly disappointed once the blood begins to dry.
The film opens with a bang, kicking off in a Yakuza nightclub where an envelope containing only black sand is delivered to the gangster in charge. After a long monologue by an old tattoo artist about the violence that erupted the last time he saw such an envelope, the ninja strikes, emerging from the shadows to slice and dice his way through an army of gun-shooting henchmen. There is, of course, much beheading and vivisecting and fake CGI blood, and at least in this opening sequence -- as over-acted as it all may be -- there's a fair amount of martial arts awesomeness, as well. It's only in the next sequence, when this over-long action set piece attempts to be an actual movie, that things go so horribly awry.
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Big Fat Liar
A take on the classic tale 'The Boy Who Cried Wolf', this is the story of a 14-year-old boy named Jason Shephard who lies for the fun of it.
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It's a risky proposition for any artist (director, author, etc.) to humanize a terrorist. In an era when many things have been reduced to black-and-white, the word "terrorist" has become synonymous with "evil." And evil can only be demonized. Because director Hany Abu-Assad chooses to peel away the stereotypes and look at the people who commit heinous actions, he guarantees two things: (1) his movie will offend a host of people, and (2) its prospects of commercial success are non-existent. Some viewers will see Paradise Now as an apologia for terrorism. Those who do, however, aren't paying attention. Abu-Assad's goal is not to condone terrorist actions (in fact, he goes to great pains to condemn them), but to explain why two seemingly "ordinary" men would be willing to sacrifice their lives in an act of mass carnage. The film offers food for thought, and reminds us that, in any war, one who understands the mindset of his opponent gains an important tactical advantage.
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Everything Must Go
As their careers develop, many comedians yearn to cross over into serious dramatic roles, if only on occasion. This has happened with John Cleese, Steve Martin, Robin Williams, Tom Hanks, Jim Carrey, and Adam Sandler. Some are more successful than others, but expectations play as big a part in the actor's reception as the actual performance. Everything Must Go is not Will Ferrell's first "straight" part (previous serious - or at least semi-serious - endeavors include Stranger than Fiction and Winter Passing), but it's the first time he has consciously leeched all but the most subtle humor from his character. There are not a lot of laughs in Dan Rush's directorial debut, nor are there intended to be. Rush keeps the tone as light as possible, but no one would mistake this for anything other than a quirky, character-based drama.
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It is said that revenge is a dish best served cold. The Proposition illustrates that, extending the metaphor, revenge is more often bitter than sweet. Gritty to the point of being disturbing, The Proposition examines the revenge thriller not as the culmination of righteous indignation, but as a pyrrhic victory devoid of catharsis. On the surface, The Proposition may echo Hollywood's storied Westerns, but the look and the feel of the film are more disquieting than anything that John Ford or Sergio Leone ever brought to the screen. Closer cousins might be Clint Eastwood's Unforgiven and the HBO TV show Deadwood.
Love & Basketball
Love & Basketball is, as one can infer from the title, about love and basketball. The film follows the lives of two next-door neighbors, one male and one female, from their first meeting on the court at the age of 11 until a fateful night a dozen years in the future. Through all this time, their passion for basketball is equaled only by their passion for each other, but it's never clear for either of them which takes precedence - the game or the relationship. In the final analysis, the feature debut of writer/director Gina Prince-Bythewood (backed by producer Spike Lee) succeeds better as a sports movie than as a romance. While the sports clichés are kept to a minimum in favor of a Hoop Dreams-type view of basketball, the love story follows a familiar trajectory.
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When I first heard the title of this movie, I thought it was a great ploy to release it around Christmas. Then I realized it was "Tenenbaums", not "Tannenbaums"... so much for that idea. Actually, Touchstone has elected a year-end release because they believe this movie, the third feature from critics' darling Wes Anderson (Rushmore), might have a shot at an Oscar or two. Despite the high profile cast, which features Gene Hackman, Anjelica Huston, Ben Stiller, Gwyneth Paltrow, Owen & Luke Wilson, Danny Glover, and Bill Murray, the movie probably has limited box office potential - it's a little too quirky for mainstream America. But the mercurial Academy may feel differently about the production than the multiplex masses - at least that's the distributor's hope.
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I define a "boo!" moment as an instant in a movie when there is a loud sound, usually accompanied by a musical stinger and occasionally in concert with the fast pass of an unidentifiable object across a portion of the camera's field of view. The idea behind a "boo!" moment is to startle viewers. Most horror fans are conversant with "boo!" moments but if you're confused, The Messengers offers a primer. It's wall-to-wall "boo!" moments with almost nothing else to recommend it. By the end of the film, these instances have become so frequent that they're more comedic than horrific. (People in the audience took the "boo" to heart because that's how they reacted when the movie ended.)
I'd like to say that Bulworth is the best political satire in years, but the truth is that is has tough competition from Barry Levinson's corrosive Wag the Dog in that department. Both films succeed admirably, but, although each takes aim at the sorry state of current-day politics, they have slightly different agendas and approaches. Wag the Dog dissects the showmanship aspect of Washington, while simultaneously firing a few shots at Hollywood. Bulworth, on the other hand, is a full-frontal assault on the shallowness of the political campaign process. It has the audacity that Primary Colors should have displayed, but was afraid to. Bulworth is willing to openly offend to get its point across. That's something that Primary Colors was nervous about doing.
The Great Escape
THE boast is that every detail in the new film, "The Great Escape," is "the way it happened," that every incident in this gaudy account of a massive breakout of British and American flyers from a maximum-security German prison camp in World War II was based on fact, as documented by Paul Brickhill in his 1950 book.
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Bulldog Drummond's Bride
Bulldog Drummond's Bride is the next-to-last entry in Paramount's series of "Drummond" B-pictures. It goes without saying that the oft-postponed wedding of Bulldog Drummond (John Howard) and Phyllis Clavering (Heather Angel) is interrupted yet one more time. The reason is a Parisian crime wave, instigated by master crook Eduardo Ciannelli.
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In the small town of Stone Cove, Maine, deputy sheriff Dwayne Hopper is on the night shift at the police station. He discovers that one of the prisoners in the holding cell is Ronald Perkins, a local psychiatrist and a suspect in the disappearance of 14 children over the past 10 years, including Hoppers young son. Interrogating Perkins, Hopper learns that the mad psychiatrist has built an army of 14 people brainwashed through cult-like methods to protect him from Perkins parents killers. Investigating, Hopper and the police unwittingly unleash his followers on the small town, and a night of terror beings as the 14 super-strong, zombie-like warriors wreck havoc with only one thing on their mind Kill for Mr. Perkins.
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A look at the relationship between renowned scientist Albert Einstein and his first wife, Mileva Maric.
Man of the West
On his way to hire a schoolteacher, a homesteader is left a hundred miles from anywhere when the train he is on is robbed. With him are an attractive dancehall girl and an untrustworthy gambler and he decides to get shelter nearby from outlaw relatives he used to run with. They dont trust him and he loathes them but they decide he can help them with one last bank job.
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Mountains of the Moon
The story of Captain Richard Francis Burtons and Lt. John Hanning Spekes expedition to find the source of the Nile river in the name of Queen Victorias British Empire. The film tells the story of their meeting, their friendship emerging amidst hardship, and then dissolving after their journey.
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