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The Virginity Hit
The idea of a bunch of high school teens trying to get laid was a surprisingly refreshing convention when American Pie reused it back in 1999. The film updated the classic teen sex comedy formula and offered a delicate balance of raunchy and sweet, caring not only about our male leads, but their female lovers – whose needs were just as important (if not more so) as the men.
Now, more than 10 years later, things have most certainly changed. The teen sex comedy feels drained once more – worn out and often just filled with mindless sex, nudity, drug use and crass behavior. Some of it is funny, but most films fail to deliver anything of note. The only filmmaking team that really seems to find success in the genre is the Apatow gang, but even they've branched off from the genre, focusing less on films like Superbad and The 40-Year-Old Virgin, and sinking deeper into more mature films. Director Greg Mottola (who also directed Superbad) had some fascinating and poignant observations in Adventureland, but that film failed to garner much interest.
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Nothing Like the Holidays
There are no ingredients in Nothing Like the Holidays that you're not already familiar with from other big-crazy-family Christmas movies. Then again, so what? The Christmas breakfast my mom makes every year never has anything new either -- in fact, there would be open rebellion if it did -- and that suits everyone just fine.
Nothing Like the Holidays is warm and comfortable in that way, mostly pleasant, mostly well acted, and moderately entertaining. Directed by Alfredo De Villa (Washington Heights), it boasts a luminous ensemble of Latino actors as two generations of Puerto Ricans living in Chicago's Humboldt Park neighborhood. It captures the cultural flavor of their yuletide festivities and intra-family squabbling without being so specific that non-Latino audiences can't appreciate it. Details aside, anyone with a family can relate to most of what happens here.
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There are two ways to review this movie. The right way is to look at it objectively, examining how the film is put together and picking apart the script by pointing out the gaping logical gaps present in it. I’ll be reviewing the film the wrong way, as a man who was once a little boy crying because Optimus Prime was dead. Now whatever is left of that kid inside me has had a wakeup call. The movie he’s been waiting twenty years to see is finally here; Optimus Prime is back from the grave and he needs my help.
The Mist is what a horror film should be - dark, tense, and punctuated by just enough gore to keep the viewer's flinch reflex intact. In fact, that movie's ending is so uncompromising that one must assume director Frank Darabont had final cut so the studio couldn't interfere. (It's worth noting that the ending is not the same as that of Stephen King's novella, but I won't mention how it has changed.) Darabont has fashioned a tense motion pictures that's ultimately more about paranoia, religious fanaticism, and the price of hopelessness than it is about monsters. But the creatures are present and accounted for, lurking in the white-out that is the mist. Someone has finally succeeded where John Carpenter failed with The Fog.
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Walt Disney once held a monopoly on animated family flicks, but the death of Disney led to a long drought until “The Little Mermaid” appeared to resurrect the Disney franchise. However, after “The Lion King”, a series of failures left Disney waning until its partnership with Pixar studios.
Eagle vs. Shark
Eagle vs. Shark appears to be vying for the Napoleon Dynamite audience. However, while there are superficial similarities, this production, from New Zealand writer/director Taika Waititi, is unlikely to achieve the same kind of embrace by geekdom that was lavished upon Jared Hess' feature. There are two primary reasons. In the first place, the semi-comedic tone of Eagle vs. Shark is more uneven than that of Napoleon Dynamite. The film offers some laughs but there are times when the dead zones between them are uncomfortable to endure. The bigger issue relates to the characters. Like the protagonist in Napoleon Dynamite, the main characters in Eagle vs. Shark are quirky and socially inept. Unfortunately, they are also morons, and it becomes increasingly difficult to care one way or another about characters who act like they have undergone frontal lobotomies.
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Beat that My Heart Skipped
The Beat that My Heart Skipped is director Jacques Audiard's re-imagination of James Toback's Fingers. Although Audiard and his co-writer, Tonino Benacquista, have retained the premise and some of the ideas of the original, this is, for the most part, a different take on the material. In fact, some of the most important thematic aspects of this film are not evident in Fingers. The Beat that My Heart Skipped is about one man's attempt to walk the tightrope between two divergent aspects of his life, and the ways in which his indecision causes him to fail at both. It's a tale of maturity and self-discovery. Whether or not it has a "happy" ending depends on your perspective. There is no ambiguity about what happens at the conclusion, but Audiard leaves it up to the viewer to put it into perspective.
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Bowling for Columbine
While there will always be a debate about the authenticity of Michael Moore's documentary techniques, there's no arguing that Bowling for Columbine succeeds equally well as a provocative essay on gun violence in America and an opportunity for the writer/director to engage in some heavy self-promotion. Whether you like him or hate him, it's impossible to deny Moore's charisma and persuasiveness as a showman. He takes a thesis and runs with it, and, while some of his conclusions may be a little farfetched, his probing often pays unexpected dividends. Bowling for Columbine is Moore's most effective film to-date - a vastly more compelling piece of pseudo-documentary movie-making than either the overrated Roger and Me or the ego-inflating The Big One.
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Whatever its flaws, one can certainly not accuse Prozac Nation of avoiding risks. The movie, directed by Erik Skjoldbjaerg (the original Insomnia) and adapted from the book by Elizabeth Wurtzel, doesn't exactly go out on a tightrope, but it frequently veers away from safe ground, in large part due to a riveting performance by Christina Ricci.
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The Matrix Revolutions represents a disappointing way for the science fiction trilogy to bow out. Overlong and underwhelming, The Matrix Revolutions reinforces the thinking that it’s a rare movie series in which the final chapter is the strongest. In this installment, the intelligence and ideas that formed one of the cornerstones of the original The Matrix, and were still in evidence in The Matrix Reloaded, have been shunted aside in favor of computer-generated action that makes about 1/3 of this movie look like a video game on the big screen.
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The provocative and challenging Together is the sophomore effort from director Lukas Moodysson. Show Me Love, his feature debut, achieved a certain amount of worldwide acclaim during its international theatrical run during late 1999 and early 2000. Now, Moodysson is back with a much different kind of story that features the same focus on character interaction. The hallmarks of Show Me Love -- the believability of the protagonists and the urgency of their emotions - are very much in evidence throughout Together.
A Good Night to Die
One day in the life of a hit man, Ronnie, who spends it trying to save the life of fellow hit man, August, who he had brought into the business three years ago. August has become a real problem for some of the bosses around town, and Ronnie will soon find out just what his Frankensteins monster will cost him.
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Veterinary assistant Corky Romano (Chris Kattan) having been banished from his family after the death of his mother, is unaware of their underworld connections until he receives a call from his father, "Pops" (Peter Falk) a Mafia crime lord. Pops has been indicted on racketeering charges, and, knowing that the prosecutors have a strong case against him, has concluded that the only solution is to somehow destroy the evidence held by the FBI.
At the family mansion, an ailing and bedridden Pops convinces Corky to infiltrate the local FBI office, since the Romano family cannot send anyone with known underworld connections, such as Corky's brothers Paulie (Peter Berg) and Peter (Chris Penn).
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The sexy funs flies fast and furious as Teri inherits a failing airline thats deep in debt. To turn things around, she and her girlfriends decide to charter the plane out for flying bachelor parties with great success!
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Vampires vs. Zombies
This mixture of different horror styles depicts Jenna, a girl infected by a vampires bite, on her way to find and destroy the source of infection. She and her father encounter different types of carnivore and bloodthirsty creatures along their journey through the zombie-ravaged world to the lair of Carmilla, who is suspected to be the source of Jennas illness. The movie is respectively based on the Le Fanus novel Carmilla.
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The mob wanted to make him a corpse... The public wanted to make him a hero.
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