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The Social Network
Never let the truth get in the way of a good story. It's an ancient entertainment truism that applies wholesale to David Fincher's masterful character drama, 'The Social Network'. Not a necessarily a biopic – and certainly not definitive, Fincher has instead constructed a wonderfully balanced tale of a young narcissistic genius in want of status and recognition – and it just so happens to revolve around the story of the largest social interaction-defining phenomenon of the internet age.
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IN JOHN POLSON'S Tenderness, Russell Crowe is being avuncular a role he fills with an admirable lack of vanity. He wears a sleeveless cable-knit jumper over a nylon shirt together with the kind of moustache that went out of fashion long before the death of Clark Gable in 1960.
Crowe is playing Lieutenant Cristofuoro, a New York police detective caught up in the case of Eric Poole (Jon Foster), a young psychopath who's just been released from juvenile detention where he's been held for the murder of his mother and stepfather.
As coming of age stories go, Wah-Wah does little to distinguish itself. Based on the memories of actor-turned-director/writer Richard E. Grant, the bland film loses its focus early during the proceedings and never gets it back. With the late 1960s independence of Swaziland from Great Britain forming the political backdrop, Wah-Wah takes us through the adolescent struggles of Ralph Compton (played by Zachary Fox at first, then by Nicholas Hoult): his battles with his alcoholic father, Harry (Gabriel Byrne); his love/hate relationship with his absent mother, Lauren (Miranda Richardson); his warming interaction with his American step-mother, Ruby (Emily Watson); and his infatuation with a local girl (Olivia Grant). The problem with so much going on is that nothing gets the development it deserves. Wah-Wah comes across as derivative and perfunctory - a painless but forgettable journey across familiar cinematic territory.
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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With her most recent directorial outing, Sofia Coppola has strayed into an area of pretentiousness that we have rarely seen since the height of the French New Wave. There's probably a class of cinephile who will lap up Somewhere, savoring its bland flavor between bites of Baluga caviar and sips of Margaux 1982 Cabernet Sauvignon. For the rest of us, though, this movie works best as a sleep tonic. Somewhere isn't just frustratingly slow-moving; it's inert.
Despite arriving on North American screens mid-way through the month of November with a cast that features three previous Academy Award nominees (Philip Seymour Hoffman, Kenneth Branagh, Emma Thompson) and a similarly honored writer/director (Richard Curtis), Pirate Radio is not being touted as Oscar bait. In fact, it comes to the U.S. with a less-than-stellar pedigree, having received lukewarm reviews during its U.K. theatrical run earlier this year and having subsequently been re-cut at Focus Features' request. The result, although uneven, is generally enjoyable, especially for those who attend with the right mindset. Character and narrative are secondary concerns for a movie primarily driven to provide a Valentine to '60s rock-and-roll.
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I suppose High Art is as good a name as any for this pretentious melodrama, an often-diverting but ultimately pointless attempt to wed intellectual twaddle with a soap-opera-ish lesbian romance. Lisa Cholodenko's film, which had its world premiere in competition at the 1998 Sundance Film Festival, received a decidedly mixed reception there, but was widely praised by feminists more because of its theme of female empowerment than because of a particularly original or engaging script.
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A law student becomes possessed by the spirit of a gangster who died in 1942 when he was mistaken for the murderer of his sister. He proceeds to exact revenge on the real murderer and the man who killed him.
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Henry Bromell's Panic, is a perfect example of what the average independent film has become in 2000. It features recognizable stars and has the kind of storyline with the potential to play reasonably well in the average American multiplex. Like Grosse Pointe Blank, Analyze This, and TV's "The Sopranos", Panic features a premise that's quickly growing tired - that of a gangster/bad guy who visits a shrink. In this case, the patient is Alex (William H. Macy). Ultimately, the film is less about his relationship with his doctor (played by John Ritter) than about the reasons he's seeing a psychologist in the first place.
Spy Kids 3-D: Game Over
Juni Cortez, a former agent of the OSS, now works as a private detective but gets little profit for his work. He is contacted by the OSS and informed that his sister, Carmen Cortez, is missing. He is reunited with Donnagon Giggles and his wife Francesca, who explain that Carmen was captured by the Toymaker (Sylvester Stallone), a villain. The Toymaker was imprisoned in cyberspace by the OSS, but he has since created "Game Over", a virtual reality-based video game which he intends on using to escape cyberspace via players that reach the unbeatable Level 5. Juni agrees to venture into the game, save Carmen, and shut down the game that is in bradford city stadium.
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When Ishmael is released from prison, he is forced to return to the life on the streets that he thought he had left behind. Determined to survive, he trains as a professional fighter, and struggles to stay out of the world of gangs, drugs and turf war.
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Gordon Glass is a comedic film about an aspiring actor Gordon who pursues his dream and moves to Los Angeles, California based on a promise to his grandmother on her death bed is a fun family film. While employed as a security guard at a major Hollywood studio, Gordon experiences the highs and lows of the road to stardom while inspiring those around him to accomplish things they never imagined. Being big and dreaming even bigger, Gordons size and sensibility makes it hard for him to fit in with his family, his job, his new neighborhood and with his new love interest, Sally.
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Cataclysm aka The Nightmare Never Ends
Police detective, Mitchell, investigating the death of a victim of a Nazi concentration camp discovers a nightclubbing playboy who has strange powers over women and is seemingly ageless.
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George Rossi, who immigrated to the US and served in the Vietnam War, is now a Superintendent of a Queens apartment building. He finds himself quickly slipping into a depraved world which is fueled by the tenants of the building.
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Just Before Dawn
Five campers arrive in the mountains to examine some property they have bought, but are warned by the forest ranger Roy McLean that a huge machete-wielding maniac has been terrorising the area. Ignoring the warnings, they set up camp, and start disappearing one by one. If that sounds too run-of-the-mill, theres a genuinely shocking plot twist half-way through..
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