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Hardwired kicks off promisingly enough with the depiction of some serious futuristic ad creep (the process whereby advertisements keep popping up in places they have never been before - go read Naomi Klein's No Logo). Trojan corporate logos painted on the Washington monument, MasterCard logos on Mount Rushmore and (perhaps most galling) a Microsoft hologram looming above Stonehenge . . .
The knives had been out and sharpened long before M. Night Shyamalan’s latest movie, “The Happening,” opened on Friday. A fine craftsman with aspirations to the canon, this would-be auteur has, in the last few years, experienced a sensational fall from critical and commercial grace, partly through his own doing — by making bad movies and then, even after those movies failed, by continuing to feed his ego publicly — and partly through the entertainment media that, once they smell weakness, will always bite the hand they once slathered in drool.
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Have Dreams, Will Travel
Have Dreams, Will Travel is an American coming of age road movie released in 2007. The film changed its title more than once -- and can also be found as West Texas Lullaby and Dream It Out Loud. These changes aim at better reflecting the nature of the story, but result in a greater confusion for the film buffs and the general audience as a whole. The film can be categorized as a drama or romantic comedy as well, and probably the way in which one approaches it will affect the viewing experience.
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The modern serial killer thriller, as established in 1991 by Jonathan Demme's expert The Silence of the Lambs and then further in 1995 by David Fincher's superb Se7en, has deteriorated into an uninventive collection of familiar tricks, tropes and tiresomely murky cinematography. If regurgitation has become the genre's guiding principle, there are far worse sources to plagiarize than the canon of Alfred Hitchcock, which is more or less what first-time writer-director David Ondaatje does with The Lodger, a modern update of the 1913 Marie Belloc Lowndes-penned mystery that was the basis for Hitch's 1927 silent film The Lodger: A Story of the London Fog. Predictably, the results aren't nearly as inspired when viewed in direct comparison. Worse still, they're also not inspired when viewed through the prism of the past two decades' worth of likeminded cinema (and the network-TV behemoth C.S.I.). Stolidly including every cliché in sight while failing to keep things tense or intriguing, it's a film that deviates not an inch from its rickety template and, consequently, disallows its sturdy cast from maneuvering in ways that might bring some novelty to the cat-and-mouse tale.
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Pirates of the Caribbean: On Stranger Tides
The fourth Pirates of the Caribbean movie represents a perfect encapsulation of what the summer sequel tent-pole has become: a half-baked casserole of recycled elements from past installments of the franchise tossed together with lackluster action sequences (inspired by or designed for video games) and gratuitous special effects. The screenplay, credited to Ted Elliott & Terry Rossio, is little more than a clothesline from which to dangle all of the obligatory set pieces. This is one script that could have been assembled using a computer. Had that been the case, however, the result wouldn't have been as long-winded. The basic story is simple; it's something of a wonder how much endless exposition and tedious dialogue Elliott & Rossio cram into the film's bulging 137 minutes.
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Heart of the Game
In recent years, true sports stories, both documentaries and feature films, have become increasingly popular. The nature of the competition, which has varied from football to spelling bees, is irrelevant. Viewers appreciate movies that tell inspirational tales, and The Heart of the Game is such a production. Chronicling six seasons of high school basketball for the Roosevelt (Washington) Roughriders, Ward Serrill's documentary examines the success of coach Bill Resler from the 1998-99 season (his first) through the 2003-04 season. It also explores the trials and tribulations of his star player, Darnellia Russell, whose contributions to the team led to an amazing run in her final season.
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At the age of 26, Ramon Sampedro misjudged the depth of water he was diving into and broke his neck. For the next 29 years, he lived the life of a quadriplegic - one that he considered not worth living. Despite having lost the use of his body below the neck, he still had a voice and a mind, and he put both of those to use, waging a one-man war for the right to die: his right to die. In one impassioned statement, he wrote the following: "I... think that living is a right, not an obligation. Nevertheless, I have been obligated to tolerate this pitiful situation…" He was a tireless soldier in this battle, but, because of the forces allied against him - religious leaders, conservative activists, and even his own brother - the conflict seemed hopeless. Since he could not accomplish the deed on his own, he needed the help of others. However, the law would prosecute accomplices for aiding him, and Ramon was unwilling to subject another to such a penalty, so he was trapped.
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Perceptive is the best single word I can come up with to describe The Ice Storm, Ang Lee's near-masterpiece that deconstructs the American family. For, although the film is provocative, entertaining, and impeccably crafted, its greatest strength is its ability to convey truths that lie deep beneath the surface. The Ice Storm is perceptive about people, relationships, and human nature, and there's not a single moment in the entire 112 minute running length that rings false.
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Farewell My Concubine
Farewell My Concubine spans fifty-three years, presenting the lives of two men against the historical backdrop of a country in upheaval. Initially banned in China but shown to international acclaim, Chen Kaige's film is one of the year's true masterpieces. Deserving of its award at Cannes and of its prominent position in 1993's New York Film Festival, Farewell My Concubine is a motion picture experience that few will soon forget after leaving the theater.
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With its kinetic style, visceral approach, compelling storyline, and powerful social message, Fight Club makes a commanding case to be considered the '90s version of A Clockwork Orange. In a time when so few motion pictures leave an impact, Fight Club refuses to be ignored or dismissed. The experience lingers, demanding to be pondered and considered, and, unlike 95% of modern-day thrillers, there is a great deal here to think about and argue over. Fight Club presents an overload of thought-provoking material that works on so many levels as to offer grist for the mills of thousands of reviews, feature articles, and post-screening conversations.
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The film opens at a Los Angeles radio station, where Joe Dirt, (David Spade) works as a janitor and lives in a boiler room in the basement of the studio. When a producer at the radio station discovers Joe getting bullied in the hallway, the producer finds Joe's natural white trash demeanor too over the top to be believed, and insists he be brought into the studio to talk live on the air with a famous disc jockey named Zander Kelly (Dennis Miller). Joe tells his life story, beginning with his being inadvertently left behind by his parents at the Grand Canyon when he was eight. After growing up in a series of bizarre foster homes, Joe finds himself living in the outskirts of the village of Silvertown where he pursues a love interest, Brandy (Brittany Daniel). The local bully Robby (Kid Rock) also has a crush on Brandy but cannot get it through his head that she loves Joe and not him.
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Two desperate and young filmmakers stumble upon the ultimate subject, a 33 year old cannibalistic serial killer named Anthony McAllister, who has agreed to let them document every aspect of his horrifically violent life-style. Initially terrified, the filmmakers get to know Anthony as a person. They even begin to identify with his ecological and philosophical justifications for his cannibalistic lifestyle. It's only when they investigate further that the filmmakers begin to doubt Anthony's accounts of his past. Tensions noticeably rise as the filmmakers continue to confront Anthony on his conflicting stories and ever-changing philosophies. During an awkward interview, the filmmakers interview Merle, the father of a young girl who was abducted and never found. This abduction was Anthony's first child victim. Merle welcomes them into his home and gives them a heart-felt experience that even Anthony is touched by. As the documentary reaches its conclusion Anthony begins to become uncomfortably aware of the how much of his life he has revealed to these filmmakers. In a final interview with Anthony a deadly confrontation erupts and all that remains is a broken camera and this footage. This film will challenge the audience to view a horrific side of humanity and will deliver a social commentary that leaves the audience thinking about the world they live in and the power and effect of all media.
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During routine administration at the Lyndon B. Johnson Space Center, Dr. Rhodes discovers that a comet has suddenly veered off its orbit and smashed into Mars. The explosion causes debris to travel towards Earth with the possibility of causing an extinction level event. At Ben Marshall's house, Ben refuses to give his son, Leo, a ride as he complained his own car smelled of mildew. However, Ben drives Leo to school and discovers Leo is in love with a fellow student, Lindsey. Leo is chatting with Lindsey when her ex-boyfriend, Sean, gives them threatening looks.
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A Closed Book
The film starts with a character named Sir Paul (Tom Conti) who is looking for an amanuensis he goes through several unsuccessful candidates until Jane Ryder (Daryl Hannah) turns up and is: intelligent and forthright. She is employed, and he explains about the house and introduces Mrs. Kilbride (Miriam Margoyles), the maid.
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The Ransom of Red Chief
This story tells of a boy held for ransom by two money hungry criminals, Bill Driscoll and Sam Howard. The two men are fugitives who have escaped to the Deep South searching for an easy way to get their hands on $2,000 they need in order to launch a land fraud scheme in Illinois. They set their sights on the quiet town of Summit, Alabama because of the philoprogenitiveness — love for one's own children — that they believe is common in rural communities.
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Skip and Harry are framed for a bank robery and end up in a western prison. The two eastern boys are having difficulty adjusting to the new life until the warden finds that Skip has a natural tallent for riding broncos with the inter-prison rodeo coming up.
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