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Get Him to The Greek
Apatow: a powerful surname in the world of comedy, and its mere association with a film release warrants a look-in. The latest of these, Get Him to The Greek is something of a side-story to 2008's Forgetting Sarah Marshall – produced by Judd Apatow and based on characters developed by Apatow-brethren performer Jason Segel. It doesn't quite stack up against the high notes, and the gags are uneven - but an overdose of pop-culture and some memorable set-ups make this a very amusing commentary on the foibles of rock stardom.
Reprising his role as Aldous Snow is comedian and performer Russell Brand. Snow represents all the lavish and egotistic contrivances the music industry breeds, embodied in a heroin-chic frame and cheeky mug. This is, of course, made all the more interesting given that Brand himself struggled with drug use and has, like his character, been clean for years now. Snow, on the other hand, ultimately tumbles off the wagon in spectacular fashion, leaving his gorgeous pop-performer partner (Aussie stunner and solid actress Rose Byrne) behind. He hits the skids after releasing an indulgent and racially offensive album – and it falls on the enthusiastic but beleaguered young music label executive, Aaron Green (Jonah Hill) to relaunch his career and get him to the Greek Theatre in Los Angeles at all costs.
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For Marvel Enterprises, the arrival of X-Men on the big screen represents the culmination of efforts that stretch back more than 20 years. For that long, Marvel has been trying to get one of their properties - Spiderman, The Fantastic Four, X-Men, or any number of others - out of the pages of a comic book and into a major motion picture. Their longtime rival, DC, did it twice - once with Superman and once with Batman - but every trip to the cinematic altar left Marvel as a jilted bride. (Conan the Barbarian does not count; despite being a Marvel mainstay for more than a decade, his origins stretch farther back than the comic books bearing his name and likeness.) X-Men, which features an A-list cast and a top-notch director, represents Marvel's best chance at gaining a foothold in Hollywood. If the film succeeds, they have other projects waiting in the wings, including multiple X-Men sequels (can anyone say "franchise"?). If it fails, the future of big-budget superhero movies, already uncertain in the wake of the Batman and Robin disaster, will be gloomy indeed.
Cop Out is Kevin Smith's first foray into mainstream action/comedy entertainment and the first time he has directed a film he did not write. This is evident - although there are a few ribald moments to be found sprinkled throughout, the movie's humor is muted and rarely attempts to offend the sensibilities of the more strait-laced audience members. Smith's career is largely founded on his reputation as a ground-breaker (his debut, Clerks, initially earned an NC-17 for profanity, although that was reversed on appeal) but with Cop Out, the cement beneath his feet doesn't suffer even a hairline fracture. The black/white wisecracker/straight man mismatched buddy cop thing has been done so often that it would demand a monumental effort to make it fresh, and Smith isn't up to that kind of heavy lifting. As it turns out, Cop Out is a pale imitation (which Smith would no doubt call an "homage") of 48 Hours. 15 minutes into this movie, I wanted to leave the theater, go home, and watch the Nick Nolte/Eddie Murphy picture instead. It would have represented time better spent.
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Deconstructing: To write about or analyze in a way that questions traditional assumptions about certainty, identity, and truth, asserts that words can only refer to other words, and attempts to demonstrate how statements about any text subvert their own meanings. (The American Heritage Dictionary of the English Language, Third Edition)
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When the star (played by Winona Ryder) of out-of-favor director Viktor Taransky's (Al Pacino) new film refuses to finish it, Taransky is forced to find a replacement. Contractual requirements totally prevent using her image in the film, so he must re-shoot. Instead, Viktor experiments with a new computer program he inherits from late acquaintance Hank Aleno (Elias Koteas) which allows creation of a computer-generated woman which he can easily animate to play the film's central character. Viktor names his virtual actor "Simone", a name derived from the computer program's title, Simulation One. Seamlessly incorporated into the film, Simone (Rachel Roberts) gives a fantastic performance, exactly controlled by Viktor. The film is immediately a huge success. The studio, and soon the world, ask "who is Simone?"
If youre Popeye, then your trusty flask of Liquid Courage is your spinach, making women easier to talk to and standards a thing of the past. The only difference is that Popeye didnt risk waking up the next morning with the clap.
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You Kill Me
Frank Falenczyk (Ben Kingsley) is a hit man for his Polish mob family in Buffalo, New York. He has a drinking problem, and when he messes up a critical assignment that puts the family business in peril, his uncle Roman Krzeminski (Philip Baker Hall), head of the family, sends him to San Francisco to clean up his act. He is forced to accept a job at a mortuary, and go to Alcoholics Anonymous meetings, where he confesses his job, explaining that he wants to be free of his drinking problem because it's affecting his ability to kill effectively. He falls in love with Laurel Pearson (Téa Leoni), a quirky client he meets at the funeral home. Meanwhile, an upstart Irish mob threatens the family snow-plowing business. When violence erupts, Frank returns home to face the old rivals on new terms. With assistance from Laurel, he manages to suppress his family's adversaries, killing the mob's leader and disbanding the Irish posse.
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Picnic at Hanging Rock
Three students and a school teacher disappear on an excursion to Hanging Rock, in Victoria, on Valentines Day, 1900. Widely (and incorrectly) regarded as being based on a true story, the movie follows those that disappeared, and those that stayed behind, but it delights in the asking of questions, not the answering of them.
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Dollhouse - Season One Epizod.
Dollhouse is an American science fiction television series created by writer and director Joss Whedon under Mutant Enemy Productions. It premiered on February 13, 2009, on the Fox network and was officially cancelled on November 11, 2009. The final episode aired on January 29, 2010. Production wrapped in December 2009, with a total of 27 episodes produced.The show revolves around a corporation running numerous underground establishments (known as Dollhouses) across the globe which program individuals referred to as Actives (or Dolls) with temporary personalities and skills. Wealthy clients hire Actives from Dollhouses at great expense for various purposes. The series primarily follows the Active known as Echo, played by Eliza Dushku (who also served as producer), on her journey towards self-awareness.
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Elle: A Modern Cinderella Tale
Elle wants to be a singersongwriter, but her dreams are cut short by the sudden death of her parents. She moves in with her adoptive uncle, who runs a small independent record label whose biggest act, Sensation, is also Elles biggest pain. The pop music environment at the label, very different than the country roots she is used to, adds to Elles feelings of loss and frustration, and her misplaced guilt, which is caused by the fact that her parents had been en route to her performance at the time of her death. But when she meets Ty Parker, a famous pop singer with a passion for real music, her repressed ambition is released through a revitalized interest in singing and songwriting.
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A look at the relationship between renowned scientist Albert Einstein and his first wife, Mileva Maric.
Goodnight for Justice
After losing his family to murderous criminals as a youth, John Goodnight (Luke Perry) takes up the law as an adult -- eventually becoming a circuit judge in the wild Wyoming Territory of the late 19th-century frontier. Dedicated to seeing that justice is served for the innocent and victimized, Judge Goodnight relies on his skills with both words and weapons to defend the law in a harsh and often lethal landscape.
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Ghosts of Mars
200 years in the future a Martian police unit is dispatched to transport a dangerous prisoner from a mining outpost back to justice. But when the team arrives they find the town deserted and some of the inhabitants possessed by the former inhabitants of the planet.
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Husbands and Lovers
Stefan finds that he can no longer tolerate the arrangement of his cheating wife ... he, the husband, gets her during the week and her lover gets her on the weekends. At the same time the wife finds herself increasingly drawn to the violence of her lover versus the adoration of her husband.
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Lying in Wait
Young bachelor Babee is looking after his dead mothers estate when married couple Keith and Vera move in. Babee becomes attracted to them by the beautiful Vera and the risk taking Keith. However at a party Vera crashes her car, putting Keith into a coma. When Keith comes out he is in a semi-vegetative state and must rely on Vera to look after him. Keith cant move or speak but reveals to Babee that he can still talk and starts to kill those that wronged him with Babees help.
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Lethal Weapon 2
Los Angeles police sergeant Roger Murtaugh and his partner, Sergeant Martin Riggs, are working on yet another drug related case. Soon after finding 1 million dollars worth of South African krugerrand in a crashed red BMW after a chase, Riggs and Murtaugh are assigned to keep an eye on Leo Getz, who is scheduled to testify in a case. There are people who dont want Leo to testify, and they are a group of drug smugglers led by Arjen Rudd, the minister of diplomatic affairs for the South African consulate. Rudd turns out to be the man that Riggs and Murtaugh are after in the drug case they were working on before Leo was placed in their protective custody, which doesnt look very protective when Leo is kidnapped by Rudds right hand man Pieter Vorstedt. Riggs ends up falling for Rudds secretary Rika Van Den Haas, who doesnt like Rudd. In a confrontation with Vorstedt, Riggs is told the true circumstances behind the death of his wife Vicky, who died in a car crash in 1984 the car crash was caused by Vorstedt, who was supposed to have killed Riggs. Minutes after Vorstedt tries to kill Riggs, Riggs finds Rika dead, and this sends Riggs over the edge.
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