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Youth in Revolt
Based on the popular book by C. D. Payne, Youth in Revolt is awkwardly charming and subtly subversive, much like its young star, Michael Cera. In the dual role of Nick Twisp and his mischievous, imaginary alter ego Francois, Cera manages to expand on his usual on-screen persona – the sensitive, lovesick teen who finds himself out of his depth. Cera and his co-star, newcomer Portia Doubleday, are the best things about the film, which pushes the boundaries of the kinds of transgressions a protagonist can commit without losing the audience's sympathy.
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Award-winning director Joe Wright creates a boldly original suspense thriller with “Hanna,” starring Academy Award nominee Saoirse Ronan (“The Lovely Bones,” “Atonement”) in the title role. Raised by her father (Eric Bana of “Star Trek”), an ex-CIA man, in the wilds of Finland, Hanna’s upbringing and training have been one and the same, all geared to making her the perfect assassin.
The Eleventh Hour
If you can forgive John Lyde and Matthew Reese their lack of resources, then “The Eleventh Hour” is not a bad way to spend 90 minutes. It’s actually a very good action film, and had the duo been in possession of, say, 10% of your average Hollywood budget, they could have produced something special. Alas, the (lack of) budget is a major source of constraint for the duo, and so instead of a globe-hopping thriller about an ex-Navy SEAL who returns home shattered and broken, only to have his past come back to grab him by the throat and send him off on an assassination run, we instead have a film set in an unnamed Midwestern town where, it would appear, running gunfights that last the better part of the day don’t get reported.
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28 Weeks Later
Another week, another disappointing summer sequel. So it goes…
In actuality, the screenplay for 28 Weeks Later isn't all that bad. Sure, it's repetitious and much of it has been regurgitated from 2003's 28 Days Later, but it contains some interesting elements and offers enough gore that horror fans might have been able to enjoy it… if, that is, it wasn't for the stylistic approach employed by director Juan Carlos Fresnadillo. Apparently, Fresnadillo believes that the proper way to film any action scene is to shake the camera violently and pan it wildly back and forth, thereby making it virtually impossible to figure out what's going on (and pushing viewers with motion sickness to the brink of voiding their stomachs). As if that wasn't bad enough, in the editing room, Fresnadillo ensured that no single shot lasted longer than about a second. Also, the climactic struggle takes place in darkness, making it that much more difficult to decode the action. I didn't realize a character had died until, a little later, it was apparent that person was no longer around.
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Years ago, while watching Delicatessen (in 1992) and The City of Lost Children (in 1995), I wondered which of the co-directors, Jean-Pierre Jeunet or Marc Caro, was more responsible for the films' quirky tone and striking visual style. Although Caro hasn't made a film since The City of Lost Children, Jeunet has continued in the business, accepting the Hollywood offer to helm Alien: Resurrection, then returning to his native France to direct Amelie. With the release of this movie, which has won critical accolades across the world, become one of the most popular home-grown films of all time in France, and captured the audience award at the 2001 Toronto International Film Festival, I have learned the answer to my question. Amelie makes it clear that the primary creative force behind the earlier films' stylistic uniqueness was Jeunet.
An Australian entry into the "found footage" genre of horror movies like The Blair Witch Project, Paranormal Activity and [REC], The Tunnel has mostly gotten press so far for its distribution model - with producers raising money by encouraging people to buy a frame of the movie for $1 and releasing it for free on torrent sites, in addition to having a physical DVD release - rather than it's actual content. Make no mistake though, although the way it's been marketed and distributed is clever, the movie itself has some tricks up its sleeve too, even if it is a bit derivative of the films mentioned above.
The story goes like this: In order to combat the city's water shortage problem, government officials planned to use the vast collection of abandoned railway tunnels below Sydney to build a water recycling facility, even though this would disrupt the population of homeless who supposedly live down there. Suddenly, the project is dropped and there are rumors of homeless people disappearing in the tunnels, even though the government continues to deny that there even are homeless people down there. Investigative journalist Natasha Warner (Bel Delia) decides to go into the tunnels herself to find out what's really going on, but when she's unable to get a permit, she sneaks in along with fellow journalist Peter (Andy Rodoreda), cameraman Steve (Steve Davis) and soundman 'Tangles' (Luke Arnold). They soon discover that there IS something down there, but it may or may not be human. What's worse, it's dark in those old tunnels, and they're running out of light...
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Live Nude Girls
It would be impossible to write a review of this film without discussing the title. How many viewers will see Julianna Lavin's feature debut because it's called Live Nude Girls? And how many will avoid it for the same reason? There's little doubt that the title was chosen for its provocative value, because, although the movie deals with live girls, they're mostly clothed. While there are bared breasts and discreetly-photographed limbs and torsos, most of the nakedness in this picture is of the emotional, not the physical, variety.
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When a Man Loves a Woman
The previews for When a Man Loves a Woman do this film an injustice. Heavy on poorly-edited melodramatic sequences, they give little inkling of the level of emotional honesty attained. Luis Mandoki's film succeeds not because it tackles alcoholism, but because it faces up to the trauma that eats away at the lives of the non-alcoholics in the family.
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Here’s a confession: if not for my affinity for Michael Pare, who dominated the direct-to-video action genre in the ’90s and was an A-list movie star in the ’80s (“Streets of Fire” being one of his more famous roles), the low-budget Creature Feature “Gargoyles” wouldn’t rate anywhere near a 2-star grade. But Pare is the star of this little ditty, and as such I’m prone to like it more than I would normally.
The Last Unicorn
Only one of the mythological creatures escapes the evil King Haggard's (voice by Christopher Lee) plan to eliminate all unicorns from the land in Rankin-Bass's (Frosty the Snowman, Rudolph the Red-Nosed Reindeer) sophisticated production of The Last Unicorn.
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Mars Needs Moms
A mischievous and rebellious nine-year-old named Milo (Seth Green, voice-over by Seth Dusky) is just beginning summer vacation, and his father (Tom Everett Scott) is leaving for a business trip. While Milo wants his summer to be a fun one, his mother (Joan Cusack) assigns him chores and tasks like taking out the trash. At dinnertime, Milo is given broccoli. His mother has a "no broccoli, no TV" rule which Milo cleverly evades by feeding the broccoli to his pet cat. When Milo's mother finds the cat throwing up from the broccoli, she grounds him and sends him to bed early. After a heated disagreement with his mother, Milo wishes that he never had a mom. Later that night, his wish comes true when his mother is kidnapped by Martians who plan to steal her "momness" to rear their own young. Milo's quest to save his mom involves stowing away on a spaceship, navigating an elaborate, multi-level planet and taking on the alien nation and their leader, the Supervisor (Mindy Sterling). With the help of tech-savvy subterranean-dwelling earthling Gribble (Dan Fogler), his bionic underground pet Two-Cat (Dee Bradley Baker), and rebellious Martian Ki (Elisabeth Harnois), Milo finds his way back to his mom.
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Ross (Jason Schwartzman) is a customer of Spider Mike (John Leguizamo), a methamphetamine dealer. Spider Mike and his girlfriend Cookie (Mena Suvari) are constantly arguing, and Ross strikes up a friendship with Nikki (Brittany Murphy), a fellow addict. Nikki takes Ross to "The Cook" (Mickey Rourke), who supplies Spider Mike with drugs from a meth lab he has set up in a motel room. The Cook gives a small amount of meth to Ross in exchange for bringing Nikki (his girlfriend) home, and says that he will get in touch with Ross if he needs a driver.
My Little Eye
The story follows five contestants who agree to take part in a reality webcast. The rules are simple: “Spend 6 months in a house for $1 MILLION. If someone leaves, everyone loses!“ With the end of the 6 months nearing, the tension between contestants Matt (Sean Cw Johnson), Emma (Laura Regan), Charlie (Jennifer Sky) and Rex (Kris Lemche) is at a high level. Instead of their regular food deliveries, packages containing things like a gun, champagne or a letter, that tells one contestant a family member has died, arrive.
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Maid in Manhattan
Marisa Ventura (Jennifer Lopez) is a single mother trying to get by with her young son Ty (Tyler Posey) by working as a maid for a classy hotel set in the heart of Manhattan. When not in school Ty spends time among Marisa’s fellow hotel workers who think she is capable of being promoted to management.
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Six friends holiday in the heart of the English countryside. The holiday turns into a culinary nightmare when they discover that their hosts are a sadistic family of cannibals set on turning their guests into their next meal!