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The Last Airbender
The title Avatar isn't the only thing that The Last Airbender has lost in its transition from the small-screen world of animated television to the realm of would-be franchise feature filmmaking. Also gone, unfortunately, is any semblance of heart or drama or, really, anything of interest at all.
The film is notable because it is the first attempt by the once mighty M. Night Shyamalan to make a big-budget, effects-heavy fantasy film -- and one based on preexisting material at that. The Sixth Sense writer-director had once been known for crafting his own smallish but memorable thrillers, but as his work's quality has grown increasingly dismal in recent years (see Lady in the Water or The Happening… or rather, don't see them), Shyamalan finally decided it was time for a change of pace. Alas, this new direction does not seem to have revived his former great potential.
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Transformers: Revenge of the Fallen
Set two years after the events of the first film, Transformers: Revenge of the Fallen finds Optimus Prime (voice of Peter Cullen) and his Autobots working alongside a multi-national, top secret military unit dubbed NEST -- which includes returning characters Captain Lennox (Josh Duhamel) and Master Sergeant Epps (Tyrese Gibson) -- to hunt down the remaining Decepticons hiding around the globe. There is a new administration in Washington – unlike the previous film, which implied that the president was George W. Bush, the new movie specifically refers to Barack Obama – that is at odds with the military about how to handle the alien robot dilemma, which remains a secret to the world at large. Intrusive National Security Advisor Theodore Galloway (John Benjamin Hickey) wants to disband NEST and have the Autobots leave the Earth, much to the chagrin of the military and Optimus Prime.
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Despicable Me falls somewhere in the middle range of animated films targeted at kids, featuring none of the delirious wit of How to Train Your Dragon and Cloudy With a Chance of Meatballs and certainly not the outright Pixar genius, but also absent the mindless pandering and obvious plotting we all fear in children's films. With a smart concept, some clever gags and well-choreographed action it moves along nicely, but it also squanders considerable voice talent and doesn't really take advantage of the twisted world it successfully creates. You get the feeling that a darker and more clever Despicable Me may have existed at some point before the studio, still trying to break into the animated market, defaulted to the safe side.
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Beyond Sherwood Forest
After covering the final season of Robin Hood on DVD, it’ s kind of fitting that we’d get a copy of Beyond Sherwood Forest, thanks to the crew out at Anchor Bay.
And at first glance, Beyond Sherwood Forest looks like it might be the worst sort of nonsense. It was a SyFy channel movie, after all…those very seldom go well. And this one even more outlandish than most. Who pitched “it’s Robin Hood, with dragons!” and actually got away with it?
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The dumb, raunchy comedy is not a new genre - in one form or another, it's far older than cinema. (What else would one call Chaucer's The Canterbury Tales?) However, as far as the modern incarnation is concerned, its genesis can be traced back to the early '80s, when films like Porky's inexplicably packed theaters. A half-generation later, this kind of motion picture is bigger than ever, with seemingly every other weekend offering another opportunity for movie-goers to laugh at the antics of stupid characters doing gross and moronic things.
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Elizabeth: The Golden Age
Historical epics are often met with mixed reactions from the masses. For every singular triumph like 300, there are many more disappointments. So it should be no surprise that producers, eager to fill cold seats with warm bodies, have returned to the time and place of one of recent cinema's most celebrated historical epics: sixteenth century England. Elizabeth was one of 1998-99's biggest art house hits (so big, in fact, that it spilled into some mainstream theaters), grossing more than $30 million domestic and garnering seven Oscar nominations. That kind of success can justify another installment, especially if the filmmakers feel there's more of the story to be told. Shekhar Kapur's Elizabeth: The Golden Age is the result, one of those rare beasts - a sequel to a movie whose primary audience is not teenagers. Presumably, Kapur rejected calling the movie Elizabeth II because that would have created all sorts of confusion.
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Sisterhood of the Traveling Pants 2
The strength of The Sisterhood of the Traveling Pants 2, like its unnumbered predecessor, lies in the appeal and complexity of the characters. The four friends who form the backbone of the narrative are warm, believable individuals. We like them. We care about them. Those things are enough to trump the various weaknesses and contrivances associated with their storylines.
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Since 1997, Titanic fans have been yearning for a re-teaming of Leonardo DiCaprio and Kate Winslet. Revolutionary Road is the opportunity they have awaited, but the results may cause as much distress as joy. Directed by Winslet's husband, Sam Mendes, and faithfully adapted by Justin Haythe from the novel by Richard Yates, this is the dissection of an imploding marriage and a contemplation about life in surburbia. It's a sad, grim movie that asks pointed questions about the compromises we make and the lies we tell in an effort to maintain a sense of equilibrium. And is it more courageous to face up to one's responsibilities or to follow a dream, no matter how impossible it may seem?
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My Favorite Martian
The most inventive moment in My Favorite Martian comes during the opening sequence. A robot Mars probe is shown slowly picking its way across the barren surface of the Red Planet. When its power supply finally gives out and it grinds to a halt, the camera pans up to reveal what the probe just missed seeing: a huge, futuristic city. Following that admittedly clever introduction, the movie is pretty much what you might expect from a big-screen adaptation of a once-popular '60s TV series: good-natured, appealing, and sophomoric. The saving grace, at least for those who recall the television show, is that series star Ray Walston has been given a more substantial role than the obligatory cameo. (His co-star, Bill Bixby, is dead, and therefore did not have to be worked into the proceedings.)
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With a mostly female cast and a poetic title, it might be easy to assume that Paradise Road is a 1997 version of Mike Newell's effervescent Enchanted April. However, apart from those stated similarities, there's little to connect the two films. Enchanted April brought the audience on a vacation along with a group of women. Paradise Road takes us to a World War II concentration camp for Dutch and English-speaking women.
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Cage plays Joe, a somber hitman visiting Bangkok to complete some jobs for a shady businessman. He hires an errand boy named Kong (Shahkrit Yamnarm) after he sees him steal a wallet on the street. He’s mean to his new employee and even gets set to kill him with a knife. Facing down death, Kong beseeches the wise hitman to teach him, so things go from near death to an awkward slap fight with a lot of elbows. When it’s over, Joe growls, “That was your first lesson,” and the tutelage is on.
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K-19: The Widowmaker
In 1959, the Soviet Union launches its first ballistic missile nuclear submarine, the K-19 — nicknamed "The Widowmaker" due to the many deaths that occurred during its construction. The ship is led by Captain Alexei Vostrikov (Harrison Ford), aided by executive officer Mikhail Polenin (Liam Neeson). Polenin and the crew have served a number of years and missions together but Vostrikov's appointment is shown to be aided by his wife's political connections, her uncle is a member of the Politburo. During an early inspection, Vostrikov discovers the officer in charge of the sub's nuclear reactors to be drunk and asleep on-duty. Against Polenin's advice that the man is "the best reactor officer in the fleet", Vostrikov sacks the officer and orders Polenin to request a replacement. The new reactor officer arrives direct from the naval academy and has never been at sea. During the K-19's official launch, the bottle of champagne doesn't break when it strikes the bow; the sailors glance nervously at each other due to this renowned sign of bad luck.
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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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From a Missouri jail cell to the heights of the world heavyweight boxing championship, Phantom Punch traces the turbulent life of Sonny Liston, chronicling his ties to the mob, run ins with the law, and the circumstances surrounding his mysterious death.
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The Man in the Glass Booth
Arthur Goldman is a rich Jewish industrialist, living in luxury in a Manhattan high-rise. He banters with his assistant Charlie, often shocking Charlie with his outrageousness and irreverence about aspects of Jewish life. Nonetheless, Charlie is astonished when, one day, Israeli secret agents burst in and arrest Goldman for being not a Jewish businessman but a Nazi war criminal. Whisked to Israel for trial, Goldman forces his accusers to face not only his presumed guilt--but their own.
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Faced with the decision of a lifetime, Arvilla Holden hijacks her two best friends and sets off in a vintage 66 Bonneville convertible.