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The Ugly Truth
The Ugly Truth, directed by Legally Blonde's Robert Luketic, revolves around Abby Richter (Katherine Heigl) and Mike Chadway (Gerard Butler) who start off as enemies but -- quicker than you can say "battle of the sexes!" -- find themselves inexplicably falling for each other. Abby is the producer of a Sacramento morning TV talk show whose ratings are on the slide. Against her wishes, the station hires notorious cable access show host Mike to serve as a special correspondent to boost ratings.
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Step Up 3D
Step Up 3D has no right whatsoever to be a good movie, and yet here we are anyway, calling it the best film in the Step Up franchise. If you read my reviews this past week of Step Up and Step Up 2 The Streets, you’d be forgiven for thinking that this is damning the third film with faint praise, but it’s not. Step Up 3D is a good movie. Not an instant classic, but a genuine celebration of music, dance, filmmaking, and yes, even 3D, and their power to entertain. Step Up 3D will leave audiences smiling from ear to ear, and probably bobbing their heads in residual rhythm to the movie’s pounding soundtrack. The best part is that you don’t have to feel guilty about it this time. Step Up 3D has its flaws, but for once a movie in this commercially successful but critically maligned franchise actually overcomes its idiosyncrasies, rather than succeeding in spite of them.
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Director Kenneth Branagh's updated retelling of Anthony Shaffer's play Sleuth, previously filmed in 1972 by Joseph L. Mankiewicz, is a clever and well-made thriller that only stumbles during the homestretch. Michael Caine, who starred in the 1972 film, assumes the role played by Laurence Olivier in the original, while Jude Law has been cast in the part previously played by Caine.
Hellboy II: The Golden Army
There are moments in “Hellboy 2: The Golden Army,” Guillermo del Toro’s profligate sequel to “Hellboy,” capable of delighting even the most jaded, comic-book-weary summer-blockbuster conscript. (That would be me.) Lately we have seen plenty of big, asphalt-smashing street battles between hero and nemesis — Tim Roth and Edward Norton, hopped up on military growth hormones, hurling cars across Harlem in “The Incredible Hulk”; Charlize Theron and Will Smith enacting some kind of meteorological superhero S & M in “Hancock” — but nothing quite like the scene in which Ron Perlman’s Hellboy, a baby in one hand and an oversize gun in the other, mixes it up with a giant, angry plant.
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Life During Wartime
In 1998, Todd Solondz's Happiness became one of the most talked-about and controversial indie films of the year - a black comedy that ventured into David Lynch territory to expose the rot underlying the placid exterior of suburbia. At the time, Happiness was cited as a breakthrough for the reclusive Solondz but, over the course of the next decade, his career has stalled. During the '00s, he made only two movies - the poorly focused Storytelling and the gimmicky Palindromes. Life During Wartime, a direct sequel to Happiness, feels like the attempt of a once-promising filmmaker to recapture some old magic. Thematically, the movie covers the same ground furrowed by its predecessor. Shorter in length and with fewer richly-drawn characters, Life During Wartime relies on uncomfortable black humor and moments of sincere drama to involve viewers. But everything is encased in artifice and the movie becomes a chore to take in.
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Waitress is a pleasant dramatic comedy that overcomes its tonal inconsistencies by presenting an engaging lead character with whom its virtually impossible not to empathize. The film makes its share of missteps, occasionally feeling a lot like a sit-com and sometimes calling attention to quirky filmmaking devices that don't work (such as a character's face being frozen for an inordinate amount of time in a single expression). In the end, however, Adrienne Shelly's movie has enough of a heart that it's easy to forgive, if not entirely overlook, such issues.
For its first two-thirds, In Bruges is an intelligent, gently paced thriller about what happens to hitmen when they screw up. The movie crawls at a deliberate pace for most of its running length, allowing the characters to be fleshed out and offering opportunities for mordant humor. As one might guess from its title, there are also some gorgeously scenic shots of the Belgian city Bruges, where the action takes place. Unfortunately, the film's final act doesn't come close to equaling what precedes it. Once the shooting starts, everything collapses, and the ending is the kind that causes head-shaking. It's as if the filmmaker realized he wrote himself into a corner and had to resort to a contrivance to bring things to a close.
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What if Quentin Tarantino collaborated with John Hughes on a teen comedy? Superbad is a decent approximation of what the result might be. As with Borat, there are no sacred cows here. The movie, produced by Judd Apatow, written by Seth Rogan & Evan Goldberg, and directed by Greg Mottola, pushes the genre's envelope a little farther than anything before it has done. It recalls American Pie but with less nudity (in fact, there's none to speak of) and dialogue that is more clever and more profane. The movie is frequently amusing and occasionally uproarious.
Three things made Dangerous Liaisons, the 1988 Stephen Frears/Christopher Hampton collaboration, one of the best films of the decade: tremendous dialogue, an intriguing and Machiavellian plot, and top-notch performances (excepting Keanu Reeves). Cruel Intentions, a thoroughly unappetizing remake where the setting has been shifted to modern day New York and the main characters have been turned into teenagers, retains only one of those elements. Hampton's blistering, pointed dialogue has been replaced by cheap, pallid one-liners. And the likes of Glenn Close and John Malkovich have given way to unconvincing actors who can't grasp the concept that roles of this complexity require more than good looks.
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Road to Perdition
Michael Sullivan, Sr. (Tom Hanks) is a mob enforcer for John Rooney (Paul Newman), an Irish mob boss in Illinois during the Great Depression and Al Capone era. Rooney raised Sullivan, an orphan, and loves him as a son; more so, in fact, than his real son, the ruthless, unstable Connor (Daniel Craig) . Sullivan and Connor go to a warehouse for a meeting with Finn McGovern, a disgruntled employee. Twelve-year-old Michael Sullivan, Jr. (Tyler Hoechlin) hides in his father's car and witnesses Connor kill McGovern in a fit of rage. Sullivan swears his son to secrecy, but Connor decides to hush these witnesses forever. He murders Sullivan's wife Annie and the couple's younger son Peter, mistakenly thinking he has murdered young Michael. Sullivan and his remaining son flee to Chicago.
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Governor's Wife, The aka Deadly Suspicion
A manipulative mother increases her plotting to stay in control.
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Julie and Jack
Jack Livingston is looking for true love. He is a successful computer chip salesman for STELLAchip Corporation in high-tech Silicon Valley. With a suggestion from his best friend, Mark Stevens, he reluctantly subscribes to an Internet dating service, CupidMatchmaker.net where he meets Julie Romanov, a beautiful genius computer software developer. Jack falls madly in love with Julie. Julie and Jack begin an intense and passionate affair. With Julie, Jack has found his soulmate. And love is forever. But this seemingly perfect love is more than he had visioned. And so Jacks love for Julie is put to the ultimate test!
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A Numbers Game
Neal is a good looking, smooth talking, killer deal closer, who can sell anything to anyone at any time. For Neal, sales is just a numbers game you cant sell to everyone, but you make enough calls in one day and you will make money. For Catherine, sales is nothing but stress and hard work. As the manager of a failing sales team Catherines job is on the line, and her boss has called in Neal to turn things around. Will Neals methods help Catherines sales team, or will his smooth talking get them both into trouble?
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Eddie and the Cruisers II: Eddie Lives!
Satin Records, who twenty years prior had rejected Eddie and the Cruisers last album, A Season in Hell, launches an "Eddie Lives!" campaign to make more money from his image in a publicity stunt, despite them not believing he is alive. The record label re-releases the band's first album, which becomes an even bigger hit than it had on its first release. As seen in the first film, the "lost recordings" from Season in Hell are released and become yet another hit album. In fact, Eddie Wilson is living, and had simply slipped away following the car crash in which he was believed killed. By that stage in his life, he simply wanted to leave music behind him. The newly generated constant spotlight surrounding his supposed death angers the reclusive rocker, by now living in Canada as a construction worker under the name Joe West.
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Lauren, an impassioned American reporter for the Chicago Sentinel heads to Juarez, a Mexican bordertown, in order to investigate a series of mysterious slayings involving young factory women from all over Mexico. As she discovers hundreds of victims, she gains the trust of local factory workers but falls into danger.
Laid to Rest
A terrifying story of a young girl who wakes up in a casket with a traumatic head injury and no memory of her identity. She quickly realizes she was abducted by a Deranged Serial Murderer and in an isolated rural town she must survive the night and outsmart the technologically inclined killer who is hellbent on finishing what he started.
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