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The Fourth Kind
Much like The Blair Witch Project and the recent sleeper hit Paranormal Activity, The Fourth Kind is a faux docudrama about weird happenings. But where those two films dealt with the realm of the supernatural, The Fourth Kind chronicles what it claims is a real-life case of alien abduction.
After an introduction by Milla Jovovich, which promises us that disturbing documentary footage is in store, The Fourth Kind follows both the "real" and the reel Dr. Abigail Tyler (played in reenactments by Jovovich) as she recounts her tale of alien abduction, a fourth kind of close encounter that Steven Spielberg never explored. Abby, a psychologist in Nome, Alaska, is still traumatized by her husband's violent, mysterious death. She has vowed to continue the psychological study that he had begun, which employs hypnosis to help patients remember traumatic events they've blocked out.
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La jeune fille et les loups
Gilles Legrandís second full length film has pretty well the same strengths and weaknesses of his first, Malabar Princess (2004). Both are family-friendly dramas which are set in picturesque rural France and explore manís dual-edged relationship with the natural world. However, both films suffer from a staid, overly cautious approach to filmmaking that robs the film of any true meaning or sentiment. Whilst the filmís naive style may make it attractive to youngsters, it is less likely to appeal to adult viewers, particularly those who expect greater narrative sophistication than a childís nativity play can offer.
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Dario Argentoís newest film, the aptly named Giallo, isnít the saving grace his fans are expecting, yet it isnít the abomination his fans were expecting. If anything, itís a much stronger film than his recent films, in terms of plotting, but as a giallo film it doesnít offer up much new from a genre fans have grown accustomed too after 35 years. So? Fans have been really critical of Argento in the recent later stage of his career, more so than they have against Romero and even Carpenter. Immediately, they shrug off a new film, proclaiming itíll be no classic like Deep Red or Suspiria. But does a new Argento film need to be a classic each and every time? Have horror fans become that short-tempered and spoiled? I think so.
Chasseurs de dragons
From time to time one has to reserve some room to catch up with European animation. Usually not as accomplished or creative as its Japanese counterpart, but definitely a few steps up from the generic American variety. And so I found myself bumping into Chasseurs de Dragons (Dragon Hunters), a French full CG animation that embraces all the genre cliches but serves them in a refreshing and captivating manner.
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It is likely that a number of reviews are going to describe The Butterfly Effect as a "science fiction" movie. Nothing could be further from the truth - little that occurs during the course of this film relates to science or technology, and to force The Butterfly Effect into the genre is a lazy and unwarranted approach. Although there is a "Twilight Zone" feel to the proceedings, it's worth noting that many episodes of Rod Serling's classic TV series gyrated along the line between fantasy and horror, and that's exactly where The Butterfly Effect belongs.
That being said, this is a compelling and intriguing movie that toys with the powers of choice and chance in a way that is not overused. Sure, there are plot holes
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The Ant Bully is a sore disappointment to anyone hoping for a turnaround to the recent downward quality spiral of animated films. In fact, this movie may represent a new nadir for 3D animation. Although it's pretty enough to look at (although nowhere near as exquisitely rendered as Pixar's Cars), the storyline - a cobbled-together stew of moralizing and pointless action sequences - is an insult to anyone with more than a second-grade education. Young kids may find The Ant Bully appealing, but nearly everyone else, including parents forced to sit through the movie, will understand the difference between a "family film" and a "children's film," and why this picture belongs in the latter category. How I long for the days of quality insect-oriented animated entertainment like Antz and A Bug's Life.
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In recent years, I have complained about the inability of movies to close strongly. Numerous films with promising beginnings and middles have fallen apart at the end. Thankfully, that's not the case with The Dukes, where a satisfying final half-hour redeems the mediocre 60 minutes that precede it. After starting with a lackluster introduction and a by-the-numbers heist sequence, the film concludes with an upbeat and appealing final act that recalls Big Night. And, in something of a surprise for a movie germinating from the pen and camera of perennial bad guy Robert Davi and starring Davi and Chazz Palmineteri, The Dukes has a big heart and no penchant for violence. The rating is a soft PG-13, making this entirely suitable for family viewing. Not since David Lynch went G has there been such an unlikely cinematic occurrence.
21 Grams is a stunning kaleidoscope of a motion picture - a mosaic of images that gradually resolves itself into a powerful tale of tragedy and redemption. Not only is this one of the year's most compelling motion pictures, but, in terms of structure, it's also one of the most intriguing and unique. Not since Memento has a movie so successfully employed a non-linear chronology. The jigsaw puzzle approach used by director Alejandro González Iñárritu keeps us far more intrigued than a conventional vision of identical material would.
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Confetti is an excellent study of what happens when someone botches Christopher Guest's mockumentary format. A supposed satire of extravagant weddings and reality shows, Debbie Isitt's feature displays little in the way of wit or insight. It's long and tedious, and amusing only on rare, widely spaced occasions. Unlike Guest's films, which show affection for the people being mocked, Isitt treats her cast of mostly unlikable characters with contempt, then attempts to redeem them
Kissing Jessica Stein
The smart romantic comedy occurs so infrequently that it has obtained an almost mythical status, sort of like Santa Claus or the Tooth Fairy. In the subgenre of gay and lesbian romantic comedies, intelligence is even rarer. Since the ratio of good to bad movies is about the same in the gay/lesbian niche as it is for mainstream films, and there are far fewer pictures made to accommodate the homosexual audience, it stands to reason that it can be difficult to find a gay and/or lesbian romantic comedy with a strong enough script to appeal not only to its core viewers, but to a wider audience. Kissing Jessica Stein is one of those uncommon movies.
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Robots is every bit as visually engaging as the best of the Pixar (or Dreamworks) digitally animated fare. The landscapes are stunning, the characters are intricately formed, there's plenty of break-neck action, and Robin Williams provides a helping of belly laughs. Despite these positive qualities, Robots never seems more than passably entertaining. In fact, it more often resembles the template for a video game (with the interactivity removed in theaters - no doubt that will be restored for the X-Box and PlayStation 2 discs) than a fully realized motion picture. It doesn't take long to uncover the culprit for Robots' lack of inspiration. The pedestrian plot is aimed squarely at five-year olds.
Screenwriters Lowell Ganz & Babaloo Mandel have never been known for their subtlety (even their best work - like Splash, Parenthood, and A League of Their Own -
Justified - Season One
You can tell a lot about a television series by how much people are talking about it - not whether or not they like it, but if they say anything. In my circle of friends and the people on Twitter I follow, which is almost entirely baseball and football fans and bloggers, there was non-stop chatter about the premiere of Justified. Someone even posted about how his mom had worked in a district attorney's office in Kentucky and that while she was there, there were a few cases with rocket launchers. I received e-mails about how great this show was and how they nailed the bits about Kentucky-living, from the accents all the way down to the buttons on the inseam.
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Five Moons Plaza
Nowadays. The day before his retirement Judge Saracini under the threat of a gun receives an envelope with an old 8mm film. The film shows the cold blooded killing of five men and the abduction of another. It is previously unknown footage of the kidnapping of the President of the Italian Christian Democratic party Aldo Moro and the brutal murder of his escort in Rome on March 16th, 1978.
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Up in the Air
Ryan Bingham (George Clooney) makes his living traveling to workplaces around the United States and breaking the news to workers that they have been let go for employers unwilling to do it themselves. Ryan also delivers motivational speeches, using the analogy "What's In Your Backpack?" to extol the virtues of a life free of burdens like relationships with people as well as things, arguing that the best way to live is to travel light, with little to hold you down.
Ryan relishes his perpetual travels. His personal ambition is to earn ten million frequent flyer miles with American Airlines. While traveling, he meets another frequent flyer named Alex (Vera Farmiga). They begin a casual relationship, meeting whenever they can arrange to cross paths.
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Something awaits Tyler Jensen and his friends in the Hallettsville house. When Tylers lifelong friends start dying, he must figure out a way to save himself, his girlfriend and the rest of the crew before the demons come.
Just One Night
Sometimes, beauty can make time stand still...
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