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The Twilight Saga: Eclipse

The Twilight Saga: Eclipse
Saying that the third film in a series with two pretty weak prior entries is the best of the bunch may be faint praise, but that happens to be the case with Eclipse. Not as stiff as Twilight and not as dour as New Moon, Eclipse actually has some gripping moments in between all the staring and caring. That said, if you're already turned off by the idea of sparkly vampires without fangs and young men wandering around sans shirts for no apparent reason, there's nothing in here that's going to change your mind.

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Gnomeo & Juliet

Gnomeo & Juliet
Gnomeo & Juliet is a CG-animated send-up of the William Shakespeare tale of star-crossed lovers that's set in the world of ... plaster garden gnomes. And it's chock full of songs by Elton John, who also executive produced the film. Bear with me. It's not as bad as it sounds.

Set in Shakespeare's birthplace of Stratford-Upon-Avon, this 3D film directed by Shrek 2's Kelly Asbury follows feuding neighbors Mr. Capulet (voiced by Richard Wilson) and Miss Montague (voiced by Julie Walters), whose rivalry has even extended to their respective garden gnomes (with one set colored red and the other blue). But can a forbidden romance between a Red (Juliet, voiced by Emily Blunt) and a Blue (Gnomeo, voice of James McAvoy) bring the two sides together and end the feud (as well as rewrite the grim end of Shakespeare's original)?

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I Am Legend

I Am Legend
“Not if you were the last man on earth!” Plenty of guys have heard that line at some point in their lives, but it’s unlikely that Will Smith is one. His irresistible charm has been proved, above all, by his ability to attract audiences to bad movies like “Hitch” and “Wild Wild West,” as well as to better ones like “Ali” and “The Pursuit of Happyness.” In spite of its third-act collapse into obviousness and sentimentality, “I Am Legend” — in which Mr. Smith plays somebody with every reason to believe that he really is the last man on earth — is among the better ones.

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Ratatouille

Ratatouille
Walt Disney once said that he hoped nobody lost sight of the fact that the Disney empire was all started by a mouse. This summer the Disney legacy is continued by a similar creature: a rat. This isn’t any rat, however. Remy is a rat of highly developed tastes, creating another Disney situation in which a character doesn’t quite fit in with his surroundings and goes off in search of a place where he belongs. Remy’s quest is another potential blockbuster hit for Disney and yet again shows Pixar that as a movie making powerhouse that can do no wrong. The empire may have been started by a mouse, but Mickey can take the summer off with the company’s future in Remy’s capable hands.

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Prowl
Teenager Amber (Courtney Hope) hates her small hometown. I mean, really, really hates it. She’s feeling so suffocated by the place that she’s starting to hallucinate blood and body parts and having flashes of monsters in her dreams. Fortunately for Amber, she’s got a cool little apartment and a fresh spanking new life waiting for her in Chicago — that is, if she can get there in a few days to claim them. To this end, Amber recruits her buddies, specifically BFF Suzy (Ruta Gedmintas) to get her to the Windy City. The rest of her friends come along for the ride, but after a brief trip in a van that subsequently breaks down, the friends are left stranded on the road. Enter helpful trucker Bernard (Bruce Payne), who offers the kids a lift since he’s going to Chicago anyway. Yeah, you probably shouldn’t accept rides from Bruce Payne. Haven’t these kids ever watched a single horror movie in their life?

Give “Prowl” this: Patrik Syversen (“Manhunt”) has made a nice little horror movie. Tim Tori’s script plays out like some indie drama for the first 20 minutes or so, with only those brief bloody flashes by Amber to remind you that Yes, you’re actually watching a horror movie that’s only setting up the premise. Once things start cooking, and the kids find themselves dumped unceremoniously into an abandoned slaughterhouse in the middle of nowhere by trucker Bernard, things get bloody real, real fast. In short order, the kids are picked off one by one, eventually leaving only BFFs Suzy and Amber to make a run for it. The culprits? Vampires. Yes, vampires. A feeding nest of vampires, to be more specific, led by their “mother” Veronica (Saxon Trainor).

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Van Helsing

Van Helsing
In the 1930s, monster movies were the staples of Universal Pictures' line-up, a cash cow as the industry metamorphosed from silent films to talkies. Although the monsters came in all sizes and flavors, none could match the appeal of the "Big Three": Dracula, Frankenstein (a misnomer – properly, it should be "Frankenstein's creation"), and The Wolf Man. By the early '40s, however, the monsters were getting long in the tooth and losing their appeal. Karloff had traded in the boots and make-up for mad scientist roles. Lugosi had hung up his cape. And Chaney had begun multi-tasking. In 1943, in an attempt to revive interest, Universal introduced the first of three cross-over films, in which more than one of the Big Three appeared. That was Frankenstein Meets the Wolf Man (the two principals are obvious). A modest success, it was followed by House of Frankenstein and House of Dracula, both of which featured all three. The "golden era" of Univeral monster movies officially ended in 1948, when Dracula, Frankenstein, and the Wolf Man met Abbott and Costello. This final movie has not aged well, and represents little more than a painfully embarrassing footnote to a series of films that grew increasingly more campy with each new sequel.

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White Ribbon

White Ribbon
Michael Haneke's The White Ribbon, which won the Golden Palm Award at the 2009 Cannes Film Festival, is the quintessential art film: slow, demanding, and rewarding for those willing to put forth the intellectual effort necessary to puzzle out its ambiguities. Set in a small German village on the eve of World War I, the movie explores themes that fit in with Haneke's dark view of human nature (as seen in his other films, particularly Funny Games). The film is about the corruption of innocence and how those who foster such corruption can reap the ugly fruits of their labor. The White Ribbon also argues that "righteousness" can be little more than a cloak of disguise - some of the most apparently upright individuals are those with the deepest moral desiccation.

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Open Range

Open Range
Whatever his faults as a filmmaker may be, Kevin Costner certainly understands the Western. Although Open Range is not on the same level as Dances with Wolves, it's a respectable effort that is only slightly marred by the unnecessarily protracted denouement. This is a great two-hour motion picture. Unfortunately, it runs 20 minutes longer than that.

Like most recent Westerns (not that there are an abundance to choose from), Open Range belongs to the "revisionist" category, which is to say that it turns some of the Western conventions upside down. In this film, it's pretty clear who the protagonists are, but they're not morally upright gunslingers wearing white hats. They have pasts that haunt them, and aren't beyond killing for a less-than-pure motive like revenge. Also, the centerpiece gunfight is as chaotic, unpleasant, and gritty as anything ever committed to film. This isn't two people facing each other on a deserted street with tumbleweeds blowing around. It's quick, brutal, and bloody.

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All About My Mother

All About My Mother
The Pedro Almodovar of the late 1990s is not the same director who once engaged audiences with his kinky and offbeat views of sex and relationships. This new, kinder, gentler Almodovar is more concerned about conventional film elements like plot and character, and less determined to shock his viewers. The characteristics that once defined Almodovar films have become background aspects - still present, but not thrown into bas-relief. All About My Mother is the third consecutive movie in which Almodovar has applied this moderated style, proving even to doubters that the filmmaker has matured. After fumbling a little in The Flower of My Secret, Almodovar came back strong in 1997 with Live Flesh. His latest, All About My Mother, was the hit of the 1999 Cannes Film Festival, where everyone except the jury thought it should have won the Palme D'Or. It proves to be Almodovar's most accomplished picture to date.

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Fiddler on the Roof

Fiddler on the Roof
Norman Jewison's adaptation of the long-running Broadway musical is set in the Ukranian ghetto village of Anatevka (the film was actually lensed in Yugoslavia). Israeli actor Topol repeats his London stage role as Tevye the milkman, whose equilibrium is constantly being challenged by his poverty, the prejudicial attitudes of non-Jews, and the romantic entanglements of his five daughters. Whenever the weight of the world becomes too much for him, Tevye carries on lengthy conversations with God, who does not answer but is at least more willing to listen than the milkman's remonstrative wife Golde.

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Multiplicity

Multiplicity
Doug Kinney (Michael Keaton) is a Los Angeles construction worker whose job is constantly getting in the way of his family. On one job to build a new wing of a scientific facility, Doug meets up with Dr. Leeds, a friendly scientist who has developed a successful method for cloning humans, and is introduced to Dr. Leeds' clone as proof. The scientist, who is sympathetic to Doug's troubles, allows Doug to make a clone of himself that can take over for him at work, while he tries to spend some quality time with his family. The clone, called Two has all of Doug's memory and knowledge, but is overly macho. The clone seems to be a dream come true, but while taking his wife, Laura, (Andie MacDowell) out to a restaurant for dinner, he finds that two is on his own date. Doug realizes clones are not as great as they seem, and Doug begins to worry about his clone being revealed.

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Iron Eagle

Iron Eagle
When Dougs father, an Air Force Pilot, is shot down by MiGs belonging to a radical Middle Eastern state, no one seems able to get him out. Doug finds Chappy, an Air Force Colonel who is intrigued by the idea of sending in two fighters piloted by himself and Doug to rescue Dougs father after bombing the MiG base. Their only problems Borrowing two fighters, getting them from California to the Mediteranean without anyone noticing, and Dougs inability to hit anything unless he has music playing. Then come the minor problems of the states air defenses.

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Phantasm

Phantasm
Mike, a young teenage boy who has just lost his parents, is afraid to lose his brother. This fear causes him to follow his brother to a funeral, where Mike witnesses the Tall Man lift a coffin on his own. Mike decides to investigate and discovers a horrible world where the Tall Man, along with his flying spheres, shrink the to half their normal size and reanimate them as slaves. It is then up to Mike, his brother, and Reggie the ice cream man to stop the Tall man.

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Godsend

Godsend
Following the death of their eight year old son on his birthday, Jessie (Romijn-Stamos) and Paul (Kinnear) are befriended by a doctor on the forefront of genetic research (DeNiro) at the height of their mourning. He leads the couple in a desperate attempt to reverse the rules of nature and clone their son. The experiment is successful and under Richards watchful eye, Adam grows into a healthy and happy young boy, until his 8th birthday. As time goes by, the Duncans gradually start to see small, subtle differences between the new Adam and the Adam they lost. At the time of the new Adams eighth birthday, the changes in character are more pronounced. Adam grows distant and fearful as a palpable sense of menace settles within the young boy. This Adam begins to suffer from night terrors and frightening flashbacks as a sinister personality begins to emerge. Paul and Jessie cannot escape the fact that this Adam is different. Terror settles on the couple as they try to come to terms with just what they have done, or what has been done to them.

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Life as a House

Life as a House
When a man is diagnosed with terminal cancer, he takes custody of his misanthropic teenage son, for whom quality time means getting high, engaging in small-time prostitution, and avoiding his father.

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Melancholia

Melancholia
Two sisters find their already strained relationship challenged as a mysterious new planet threatens to collide into the Earth.

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