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Ong Bak 2
Ong Bak 2 isn't a movie; it's a videogame. Lacking the elements which generally constitute a film – little things like story or character or performance – Tony Jaa's MMA follow-up is difficult to review in any kind of meaningful cinematic context. It is, one supposes, a performance piece, a wonderfully visual display of martial arts acumen that'll succeed at keeping your rapt attention while ultimately failing to entertain.
This is due in large part to the film's structure, a sequence of grand fights spread out over a number of dynamic locations in which Jaa takes on several waves of inconsequential bad-guys only to defeat the equivalent of that location's "boss." Put a controller in the hands of every theater-goer and you'd have the world's highest resolution action-platformer in place of a watchable action film.
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Hey folks, Valkor here. And I welcome you to TOV's "30 in 30", where I'll review 30 unique film and maybe some not so unique, all in 30 days. What's cool for most of the flicks, is that I know nothing about em. So this should be a real treat not just for you guys, but for me as well. Good or bad, this is gonna be a fun month. It all starts today July the 4th and ends on Aug the 3rd. Can I make it through? We'll know soon enough!
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To an extent, Blood Diamond is a victim of its own length. While the film includes a number of disturbing political and sociological insights, the adventure story is tepid and loses momentum as the storyline bogs down. The main character, played by Leonardo DiCaprio, has an effective arc that is believable because it does not force him to act contrary to his nature, but it takes a long time for Blood Diamond to get us to DiCaprio's moment of recognition. Pacing issues aside, this is a well constructed movie - clearly the product of a director who understands how to make a top-notch motion picture. It looks great and sounds great. If only Edward Zwick's mastery of the medium had extended to pruning the screenplay and editing the final result, Blood Diamond might have been a tremendous film rather than one worthy of only a lukewarm recommendation.
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Sometimes, I wonder how the human races survives it. By "it," I am referring to that seemingly insurmountable time of life when body chemistry and societal pressures conspire to make every day seem like a titanic struggle - the teenage years. Even for those who live to a healthy, happy old age, the fourteenth year of life may be the cruelest one. Self-esteem is determined not by accomplishment or intelligence, but by how one is accepted by his or her peers. The pressure to rebel is overwhelming, even for the most calm and obedient child. It is a time of harrowing inner turmoil that, unfortunately, most movies reduce to a series of inane clichés.
Over the years, the tendency when incorporating Nazis into movies has been to use them as the kind of diabolical villain with whom it's difficult (or at least uncomfortable) to sympathize. The concept that there might have been Nazis in Germany during Hitler's time in power who weren't rotten to the core has largely been avoided as a moral quagmire into which filmmakers have not wanted to venture. Demonization is a more secure and profitable route. Safe Nazis - like the ones used by Steven Spielberg in his Indiana Jones movies - are bad Nazis. Adding complexity to the equation is a daring step that has only recently been attempted by a small but growing cadre of directors. Last year, there was Paul Verhoeven's Black Book. This year, in addition to Good, we have seen The Reader and Valkyrie. Unfortunately, more is needed for success than the desire to make a movie about a Nazi who bears a greater resemblance to a living, breathing human being than to the familiar caricature. Black Book, The Reader, and Valkyrie have it. Good doesn't.
In my original, unpublished review of Basic Instinct (dated March 21, 1992), I wrote the following: "There's a fine line between eroticism and exploitation, and Basic Instinct treads it, using nudity, sex, and violence to cover up the limitations of the story. Nevertheless, it delivers what it promises: a fast-moving, often-implausible thriller that glories in the lurid and the bloody." In fact, Basic Instinct resembles nothing more than one of those Z-grade soft core thrillers that Cinemax seems to have an endless supply of. But the big difference between those movies and this one is easy to identify. Instead of employing obscure actors and craftsman, Basic Instinct has a credit list that's A-list from top to bottom: actors Michael Douglas and Sharon Stone, director Paul Verhoeven (Robocop), scribe Joe Eszterhas (Jagged Edge), cinematographer Jan De Bont (Die Hard), and composer Jerry Goldsmith.
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The bayous of Louisiana are a strange and wonderful place -- a world unto their own, overflowing with a wealth of story and thematic possibilities. Whether it's the heated mystery of The Big Easy, the nonstop action of Hard Target, or the gory scares of Candyman, the cajun state has attracted projects in search of a setting like no other in North America. It is here, amidst the darkly beautiful swamps, that first-time director Kasi Lemmons has set Eve's Bayou, a fascinating tale of guilt, consequences, and voodoo.
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One of the most unfortunate aspects of a courtroom thriller is the tendency to degenerate into preposterous melodrama. It's as if the basic situation of having a person on trial for their life isn't inherently powerful enough. As a result, cheap theatrics are thrown in to spice things up, and, in the process, wreck any semblance of credibility. Primal Fear, director Gregory Hoblit's adaptation of William Diehl's novel, is an obvious example. At times, it's taut, sharp, and astute, but those qualities are overwhelmed by a storyline that takes too many wrong turns.
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Quest for Camelot
With new, high-profile animated features being produced by Twentieth Century Fox, Warner Brothers, and Dreamworks, movie-goers may have reason to be upbeat about the future of big- screen animation. The line of thinking goes something like this: now that the competition has upped the ante, Disney will be shaken out of its complacency, and this will result in a return to the quality evident in their early '90s productions, such as Beauty and the Beast. Fox's entry, Anastasia, proved that Disney-like animation can be achieved by a corporation not associated with the Magic Kingdom. So, it was with great interest that observers watched to see what Warner Brothers would do with the baton that was passed to them for The Quest for Camelot. The result is simple and disheartening: they dropped it.
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It's heartening to know that while we sat through one of the emptiest synthetic hit movies of the 1980's, the seeds of parody were being sown. It's also nice to see that the three-headed Zucker-Abrahams-Zucker directorial entity, the one responsible for "Airplane!," has split into three fully formed talents without any apparent loss of verve.
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Martin and Lewis
When lounge singer Dean Martin (Northam) and burlesque comic Jerry Lewis (Hayes) clicked during an impromptu pairing in 1946, neither anticipated their unparalleled success as a team. Lewis was going nowhere fast with an act built around miming to records, while Martin was making a decent living as a crooner. Lewis had beseeched his agent to reteam him with the reluctant Martin;
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Charlie Sheen plays Ryan Turner, a hotshot broker living an upscale life in New York City with his shallow girlfriend Cindy Styne (Denise Richards). One morning, he is playing golf with the owner of one of the biggest newspaper publishers of New York.
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Morgan Sullivan, a recently unemployed accountant, is bored with his suburban life. Pressured by his wife to take a job with her father's company, he instead pursues a role in corporate espionage. Digicorp's Head of Security, Finster, inducts Morgan, and assigns him a new identity. As Jack Thursby, he is sent to conventions to secretly record presentations and transmit them to headquarters. Sullivan is soon haunted by recurring nightmares and neck pain. When he meets Rita Foster from a competing corporation, his life starts to become complicated.
Rita gives him pills to cure his pain and nightmares, and tells him not to transmit at the next convention. After the convention, Digicorp confirms the receipt of his transmission, though Morgan sent nothing. Sure that something strange is going on, Morgan takes the pills Rita gave him. They work. Confused by what is going on, and intrigued by Rita, he arranges to meet with her again.
The story of how Modesty got her name. !!! Swedish Subtitles!!!
Takes place in 1995, the year of the second referendum on the separation of Quebec. In the dead of winter, a serial killer is on the loose in the small Montreal neighborhood of Notre Dame de Grace. The tenants of an old apartment house must figure out who they can trust and who they cant.
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The demon clown Killjoy is resurrected once again, but this time he is not given the name of his victim and is trapped in his realm. Using a magic mirror he lures four unsuspecting college students into his realm where he can have his macabre fun! A mysterious man returns and we finally discover who Killjoys true target is!
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