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iven the continuing popularity of the Chinese costume epic, it’s pretty much inevitable that all manner of legends and enduring tales will be dusted off and brought to the screen as blockbusters. And so up steps director Jingle Ma, known for commercial hits such as the recent “Butterfly Lovers” and “Playboy Cops”, with a new, big budget, all star version of the legend of “Mulan”. The story has certain proved a favourite through the years, having been adapted many times in the past, even enjoying the dubious distinction of having been made into a cartoon over in Hollywood by Disney. Here, Ma offers up a somewhat more grounded take, bringing in top actress and recent “Red Cliff” heroine Vicki Zhao as the fabled girl in general’s clothing.
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When rock historians and biographers cover John Lennon, they usually wind up defining him and the periods of his life in terms of his relationships from his time spent collaborating on some of the twentieth century's greatest pop songs with The Beatles and the next phase of his life spent as a peace activist and artist alongside true love Yoko Ono.
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Do Hollywood studio executives think that women have a gene for tulle? Neural receptors just for Vera Wang? I wondered this as I was watching “Bride Wars,” a dopey if largely painless romantic comedy with Kate Hudson and Anne Hathaway as best friends forever who turn into best enemies forever because of a wedding day glitch. Since childhood, the two have dreamed of getting married at the Plaza (alas, not to each other), a reverie that turns into a manufactured nightmare when their respective nuptials are scheduled for the same day in June.
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Before the Devil Knows You're Dead
Sidney Lumet's "Before the Devil Knows You're Dead" is such a superb crime melodrama that I almost want to leave it at that. To just stop writing right now and advise you to go out and see it as soon as you can. I so much want to avoid revealing plot points that I don't even want to risk my usual strategy of oblique hints. You deserve to walk into this one cold.
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Crackdown was about audacious, skyscraper-clearing leaps; Assassin’s Creed opted for nimble parkour, its protagonist dancing across rafters, swinging between jutting flagpoles. In both cases, scaling a city in any manner you chose made the game. With freerunning superman Cole, Infamous falls somewhere between Altaïr’s procedural elegance and the Agent’s unsubtle, ground-pounding zeal. The player can scamper up anything with a handhold, mastering nearly any structure in the sprawling acreage of Empire City, before plummeting back to street level without so much as a sprained ankle.
Maybe it's my math/engineering background, but I found Proof to be fascinating both on the stage and on the screen. Actually, appreciation of the film demands little math knowledge (aside from recognizing that a "proof" is a logical set of equations designed to explain and defend the veracity of a theorem). Proof is less about math than it is about the ins-and-outs of intellectual property and the relationships of one women to those around her (father, sister, lover).
When we first meet Catherine (Gwyneth Paltrow), it's the day before her father's funeral. During the last years of his life, Robert (Anthony Hopkins) - once a revered mathematician - was caught in the grip of dementia, with Catherine as his lone caregiver. Now, with his death, her sister, Claire (Hope Davis), has jetted in from New York City to pick up the pieces and bring Catherine back with her. And her father's dissertation student, Hal (Jake Gyllenhaal), is poring over Robert's old notebooks, looking for something brilliant amidst all the ramblings. Meanwhile, Catherine, who believes she may have inherited her father's madness as well as his
Kids Are All Right
The kids may be all right, but the adults aren't. That's the underlying premise of Lisa Cholodenko's unconventional family drama - a motion picture that uses wry humor and uncommon sensitivity to underscore some of the difficulties inherent in any family, regardless of how unusual the structure may be. However, although many of the ideas and emotions expressed in The Kids Are All Right have universal implications, Cholodenko resists the urge to close things out in an artificially clean manner. When the 104-minute running time has expired, there's a sense of satisfaction that the story has been told, but by no means are all the loose ends neatly knotted. In fact, the untidiness of the ending hints at greater honesty than one might uncover when catharsis is achieved for all characters by squelching ambiguity.
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If nothing else, Alien Resurrection emphasizes something that became apparent five years ago with Alien 3 -- the series hasn't only run out of steam, it's getting thin on new ideas. No one seems willing to take any chances with the franchise, so we keep seeing the same basic story over and over again. There's very little in Alien Resurrection that wasn't done better in either of the first two films. And, on those occasions when the latest entry offers a fresh twist on old material, the script's underdevelopment fails to make it special.
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When the collaboration of Steven Spielberg, Jeffrey Katzenberg, and David Geffen on a new production company was first announced, it became the talk of the entertainment world. Soon, deals were being signed, contracts inked, and films placed into pre-production. Now, more than two years later, Dreamworks SKG is ready to release its first motion picture. Much is riding on the pairing of George Clooney and Nicole Kidman in The Peacemaker, a marginal thriller that isn't likely to electrify the early Autumn box office.
Despite its enormously entertaining action sequences and generally high level of energy, Drop Zone has a major draw back: it doesn't make sense. This is a classic example of a script apparently constructed as an afterthought to accommodate the skydiving, fight, and chase scenes. The plot, to put it frankly, is complete rubbish, with far too much time devoted to fruitless attempts at explaining and developing it.
Most recently, skydiving was used to drive Terminal Velocity, and, while no one is going to nominate Drop Zone for an award, it's a more enjoyable way to spend ninety-plus minutes -- assuming you're for some reason forced to choose between the two. Then again, no matter what the arena, Wesley Snipes can act rings around Charlie Sheen, and John Badham (Wargames) is a somewhat more accomplished director than Velocity's Deran Sarafian.
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Some say that to be the leader of a country is one of the loneliest jobs in the world. But being the child of a world leader can be doubly so. Constantly surrounded by security officers, restricted in movements and having almost every waking moment carefully monitored makes normalcy an impossibility. No one knows this better than young Luke Davenport, the son of U.S. President Davenport.
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The Elite Squad
Set in 1997, in Rio de Janeiro, The Elite Squad follows the lives and exploits of a BOPE captain named Nascimento and his two potential heirs-in-command, Neto Gouveia and André Matias, rising from the ranks of general PMERJ (the state military police) to BOPE (later it is revealed that Nascimento wants to leave the force because his wife is pregnant with his first child).
While Neto Gouveia is a quick-tempered, tougher man, André Matias refuses to compromise his ideals of peace and equality. The latter is also a student of Law at a university in Rio, where his upper class friends are unaware of his job as a policeman, and are clearly shown as "spoiled" kids that tend to see the police as a repressive unit.
Preceding the visit of Pope John Paul II to Rio, the plot unfolds and we are introduced to the day-to-day drug busting operations inside Rio's favelas, ruled by well-armed and powerful drug lords, led by the Brazilian elite unit, BOPE, and the corruption that affects part of the PMERJ.
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The Seventh Stream
Shes a beautiful stranger lost in his world. Can they find a place in each others hearts?
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The Godfathers of Mondo
A look at the careers of Gualtiero Jacopetti and Franco Prosperi who invented the mondo genre with MONDO CANE in 1962. It follows their career until their split in following the making of GOODBYE UNCLE TOM in 1971.
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Four friends each receive phone calls to meet a fifth friend for lunch at MK Restaurant, a popular hot pot chain in Bangkok. The friends are:
A journalist searches for her daughter as a series of catastrophic disasters push a destabilized society toward the brink of global war.
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