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Let's not talk about The Dark Knight – for it has no bearing on Inception beyond its directorial association; instead, let's hop in the way-back machine to one of director Christopher Nolan's earliest films, Memento. With it, Nolan showed audiences the power of a compellingly structured narrative: in Memento's case, the disorientation of amnesia and how to translate this befuddlement to the audience.
Memento is, of all of Nolan's work, the film most structurally similar to Inception; it's a cyclical narrative that aims very directly to evoke that feeling of being lost – lost amongst the lingo of fantastical terms and impossible physics, lost in a story that is layered and folded upon itself four times over. Indeed, Hollywood's obsession with 3D has extended to the storytelling process, and with Inception, it also reminds us that story and characterization still rule in the land of a thousand digital vistas.
Fast & Furious
Fast & Furious reunites the stars of the first installment in the high-octane franchise -- Vin Diesel, Paul Walker, Michelle Rodriguez and Jordana Brewster -- in a sequel directed by The Fast and the Furious: Tokyo Drift's Justin Lin.
The story finds federal agent Brian O'Conner (Walker) tracking down a drug dealer whose operation involves the use of street racers to ship his narcotics across the border from Mexico into the U.S. A murder that's tied to Brian's ongoing case reunites him with his fugitive ex-pal Dom Toretto (Diesel) as well as his ex-flame and Dom's sister Mia (Brewster), both of whom still harbor anger and pain over their betrayal by undercover cop Brian at the end of the first film.
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Pride is one of those generic inspirational sports movies that has been cobbled together from spare parts left to rust on Hollywood's shelf of clichés and stereotypes. Take a little '70s racism, add the guidance of a strong coach, throw in minor subplots about the players, and stir. Yet , despite the stale odor of the broth, lack of originality isn't Pride's stumbling point - it's that the familiar story is not well presented. The manipulation is clumsy and obvious and none of the characters attains a semblance of three-dimensionality. Even a solid performance by Terrence Howard can't keep Coach Jim Ellis from seeming like a shadow of the many more interesting men in whose footsteps he treads.
13 Going on 30
There's something irresistible about a displaced consciousness story, whether it's an adult occupying the body of a child, a child occupying the body of an adult, or a gender switch. 13 Going on 30 belongs to the same sub-genre as Big, although many of the particulars are different. As films of this sort go, this one is solidly entertaining. It requires that the viewer exhibit a fair amount of willing suspension of disbelief, but buying into the essential premise is more than half the battle. Accept the magic that transports the mind of a 13-year old girl into the future body of her 30-year old self, and little else that director Gary Winick throws out will be difficult to swallow.
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The term "grindhouse" refers to a specific type of '60s and '70s exploitation film: the sex-and-gore soaked fare that played in run-down urban cinemas and drive-in theaters. With their consistently poor production values and often horrifically bad direction and acting, grindhouse movies developed a cult following that reveled in such guilty pleasures and accepted them for what they were. Filmmakers Robert Rodriguez and Quentin Tarantino were among the charter members of this fan club and their previous work has been informed to one degree or another by their love of these movies. With Grindhouse, a valentine to exploitation films, it's all out in the open. Depending on your point-of-view, this is either a nostalgic stroll through a cheesy slice of American pop culture or an attempt to provide a tongue-in-cheek reinvigoration of it. Most likely, it's a little of both.
I wish I could claim many of the revelations contained within Client 9 are shocking, but they're not. By following the story of the rise and fall of Eliot Spitzer, director Alex Gibney peers behind the political curtain and discovers what we all know: even the most strait-laced politicians have skeletons in their closets. In many ways, Client 9 is as depressing a movie as one is likely to encounter. There's a certain Shakespearean element to Spitzer's story - he's a heroic figure with a tragic flaw. That flaw is exploited by his enemies to bring him down. Gibney, who made the brutal and revealing Enron: The Smartest Guys in the Room (as well as Taxi to the Dark Side and Casino Jack and the United States of Money) once again illustrates that the state of Denmark isn't the only place where rot has undermined the foundations.
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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.
In the movies, like in real life, it isn't enough just to have a heart in the right place. Good intentions are nice, but they need to be backed up by an intelligent script telling an involving story. In the case of Dangerous Minds, we get an idealized version of inner city life, where, though problems may require more than the wave of a magic wand to remove, the solutions still seem too facile.
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Wai-Tung (Winston Chao) has a problem. Living in New York with a well-paying job, a nice home, and a stable relationship (with Simon, played by Mitchell Lichtenstein), everything appears to be going his way. But his parents, unaware of his homosexual proclivities, are expecting a marriage and grandchildren, and Wai hasn't been able to get up the courage to tell them that he's gay. Meanwhile, Wei Wei (May Chin), a tenant in a building owned by Wai, has to find a way to obtain a green card or be deported. A solution to both problems is proposed: a marriage of convenience. Once agreed to by both parties, the arrangements are made, and everything seems to be working out well until Wai's parents arrive from China to plan the wedding banquet.
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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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Jump Out Boys aka Lords Of The Street
Set in post hurricane New Orleans. A brutal Mexican drug lord busts out of jail to retrieve the 15 million that his girlfriend is hiding. Can he find the girl and the cash before the cops track him down?
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A college freshman who trains in martial arts is beaten up at work by a racist gang. His co-worker, a Chinese cook, beats the gang up and trains the young man in kung fu. When a tournament is to be held, the teacher tells the student that he will not teach him for money. However, when the gang beats up the students best friend, the student now must make the choice of entering the tournament or keeping the promise to his teacher.
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Kickboxer 3: The Art of War
Together with his trainer Xian, Kickbox champion David Sloan arrives in Rio de Janeiro for a show fight. Soon hes confronted with the darker sides of the city, when pocket picker Costa tries to steal his camera. He takes him and his beautiful sister Isabella under his wings and to his fight. There Isabella gains the attention of a ruthless white-slave agent, who happens to be his opponent Martins manager. Not long until David needs to use his fighting skill also outside the ring.
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Mortal Kombat: Annihilation
Mortal Kombat is an ancient tournament where the Earth Realm warriors battle against the forces of Outworld. Liu Kang and a few chosen fighters fought and defeated the powerful sorcerer Shang Tsung, their victory would preserve the peace on Earth for one more generation. Taking place now where the first movie left off, the Earth realm warriors live a short period of peace when evil forces from another dimension come to invade and wreak havoc on Earth. They are guided by the forces of Outworld leader, Shao Kahn and his generals such as Motaro, Rain, Ermac, Sheeva and Sindel. Now Liu Kang, Raiden, Jax, Sonya and Kitana must defeat Shao Kahn in six days before the Earth realm merges with the Outworld.
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A pair of rivaling stage magicians are forced to confront their falling out over a guillotine mishap when they compete in a magic competition.
Sam Baily, upset over losing his job, takes a natural history museum hostage. Max Brackett, journalist, is in the museum when this occurs, and gets the scoop. The story spreads nation wide, and soon it is all anyone talks about. The story itself is the news, not the reason why or the real people behind it.
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