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Bunraku takes the combined talents of Josh Hartnett, Woody Harrelson, Demi Moore and Ron Perlman and places them in an utterly insane universe where cowboys clash with samurai warriors and megalomaniacal despots in a hyper-real, hyper-stylised environment. The name comes from an ancient from of Japanese puppet theatre, and at times the movie feels like a stage-play on film, the back-drops popping up and down, the camera zooming in and out origami-like wonderlands.
Yet in spite of the film's technical achievements, it fails to hold together as a coherent whole, the result overlong and undercooked.
The Virginity Hit
The idea of a bunch of high school teens trying to get laid was a surprisingly refreshing convention when American Pie reused it back in 1999. The film updated the classic teen sex comedy formula and offered a delicate balance of raunchy and sweet, caring not only about our male leads, but their female lovers – whose needs were just as important (if not more so) as the men.
Now, more than 10 years later, things have most certainly changed. The teen sex comedy feels drained once more – worn out and often just filled with mindless sex, nudity, drug use and crass behavior. Some of it is funny, but most films fail to deliver anything of note. The only filmmaking team that really seems to find success in the genre is the Apatow gang, but even they've branched off from the genre, focusing less on films like Superbad and The 40-Year-Old Virgin, and sinking deeper into more mature films. Director Greg Mottola (who also directed Superbad) had some fascinating and poignant observations in Adventureland, but that film failed to garner much interest.
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Ang Lee's latest film Taking Woodstock, based on Elliot Tiber's memoir, recounts how 1969's Woodstock Music and Arts Festival came to be. The film follows Elliot Teichberg (Demetri Martin), a young, closeted interior designer who begrudgingly leaves his life in Greenwich Village behind to go home and help his overbearing Jewish immigrant parents Jake and Sonia (Henry Goodman and Imelda Staunton) save their rundown motel in the Catskills.
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Eduardo Sanchez, should his name not ring a bell, is 50% of the success behind The Blair Witch Project. Altered, his second full-length feature, proved to be a tremendous flop (and rightfully so), which left him stranded as a failed talent. At the same time it relieved some of the pressure Sanchez must have felt after the success of Blair Witch. Seventh Moon is his third film, and a reassuring poke in the right direction.
Seventh Moon is based on the Chinese tradition of the Hungry Ghost Month, a familiar subject for those who dabble in the realms of Chinese and HK horror films from time to time. It looks like this tradition is catching on in the West, as They Wait (a Canadian film from 2007) based its story on that same tradition. A somewhat remarkable fact, as Western horror films aren't usually very prone to pick up on Asian influences.
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Wolke Neun (Cloud 9)
67 year-old Inge (Ursula Werner) has been married for several decades to Werner (Horst Rehberg), a man who has proven to be a loyal and dependable provider as the family patriarch over that time span. However, now that he's retired, he gets most of his kicks riding passenger trains around Germany, while his wife operates a small sewing business part-time out of their Berlin flat mending clothes as a seamstress.
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If there are any 24 fans who have wondered what the TV series might be like if Liam Neeson replaced Kiefer Sutherland, Taken provides an opportunity to have that question answered. Neeson's Bryan Mills uses nearly all the Jack Bauer tactics, including torture, bone-crunching, and bloodletting. He gets involved in car chases, shootouts, and brings a gun to a knife fight. Like the Energizer Bunny, he takes a licking but keeps on ticking. When it comes to action, Taken gets the job done. The film is never boring. It is, however, completely preposterous.
My Date with Drew
If one had to classify My Date with Drew, it would fall under the documentary umbrella. A more honest appraisal, however, would be to call it "reality TV" for the big screen. After all, it has the same quintessential appeal: an "everyman" as the protagonist, an unscripted narrative, and plenty of spontaneous action. No, director/producer/star Brian Herzlinger doesn't have to ingest bugs or dangle out building windows to attain his goal, but he does have to jump through quite a few proverbial hoops.
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Sometimes, it's all about the cast. That comment isn't meant to disparage the scriptwriting of Michael Markowitz, John Francis Daley, and Jonathan Goldstein, who offer their share of amusing situations and snappy one-liners, or the direction of Seth Gordon, which is crisp. But for something like Horrible Bosses to sparkle, the actors have to shine... and shine they do. Jason Bateman, Charlie Day, and Jason Sudeikis are funny and sympathetic as the underappreciated workers turned inept criminals. Kevin Spacey, Jennifer Aniston, and Colin Farrell bare their teeth (and, in Aniston's case, a bit more) as the title characters. And, lurking in the background, Jamie Foxx plays a hit man with the unlikely moniker of Motherfucker Jones. With a name like that, you know this isn't going to be PG-13.
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Agent Cody Banks
I've seen this movie before, haven't I? Actually, twice, right? I'm not suggesting that Agent Cody Banks and the two Spy Kids films are one in the same, but to be honest, when I've seen a movie done right—and twice for that matter—it is difficult to judge a fairly similar movie on its own merits. The three movies share a relatable premise, but the Spy Kids movies are, at their heart, about family. This movie is, at its heart, about one kid and his awkward teenage years. The Spy Kids movies have imagination; this one has reproduction and homage.
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The film begins with a flashback to an inebriated Police Detective Jerry Black, mumbling incoherently at an unknown location. The scene then switches to events that precede the opening scene. Jerry is ice fishing, then driving to work. After work, he goes to a restaurant, where the Department has thrown him a retirement party. Police Captain Eric Pollack (Sam Shepard) gives Jerry a gift, a trip to go fishing in Mexico. The party is interrupted by the discovery of a murdered young girl named Ginny. Jerry decides to go with another Detective, Stan Krolak (Aaron Eckhart) to the scene of the crime.
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The film follows the story of Daniel Balint, a brilliant but troublesome student at a Jewish Yeshiva who has become a fanatically violent Neo-Nazi in New York by his early 20s. The film plots his rise through the ranks of a fascist party while he attempts to reconcile his religious past and ethnic heritage with his anti-Semitism.
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Four individuals, from different walks of life, meet on a train destined towards Mumbai. They are Bobby (Dino Morea), Omi (Rohit Roy), Lucky (Sanjay Suri) and Jai (Bikram Saluja). They immediately become friends as they are alone, and only Jai has someone to live with.
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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A drama centered around a married couple who opened the first legal brothel in Nevada. Based on real events.
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A black comedy about two old-time conmen who pretend to be able to communicate with the dead.