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“Robodoc” the name itself reveals the plot behind the movie. The movie is all about a robot which is a doctor with a human finish on the outside. This movie is a satire on the doctors and the medicine field else what could be said of a movie that is so insane, has its share of vulgar acts and not to mention few semi-nude scenes. The movie begins with a sleazy lawyer Attorney Jake Gorman (Kenny Babel) whose only job and motive is to sue the medical fraternity and the doctors in particular. The main hospital affected by Jake’s actions is the North Mercy hospital where the doctors keep leaving after cases of negligence gets filed on them.
Meet the Spartans
Hollywood has churned out a slew of spoofs within the last year alone, including Epic Movie, Balls of Fury, The Comebacks, and Walk Hard: The Dewey Cox Story. Now, less than a month into 2008, we have Meet the Spartans -- a spoof of a movie, 300, that only opened last March. One wonders if studios aren't already developing spoofs of their forthcoming summer movies for release the following winter.
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Step Up 2: the Streets
“Step Up 2 the Streets” is an earnest sequel to the 2006 cornball musical drama “Step Up,” mixing new characters into the original’s setting, the neighborhoods surrounding the Maryland School of the Arts in Baltimore.
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When the opening credits blast across the screen in Superman Returns using the same time honored whooshing style made famous by Richard Donner back in 1978, it's a giddy moment; alive and filled with the sheer power of the Man of Steel. When Bryan Singer's name flies across the picture with his directed by credit, you get the sense that seeing his name there, that way, is something he's been waiting for all his life. What kid wouldn't want their names swooping across the screen in a Superman movie? Forget Scorsese or Spielberg, when you're a kid you want to be Richard Donner. On screen his name had more flair.
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If you like Harrison Ford movies, like I do. And if you like thrillers, like I do. And if you like to sit on the edge of your seat in a movie and root for the good guy, like I really do, then youll probably love FIREWALL.
Get Smart becomes the latest in a long line of TV series to get a big-screen treatment. While we have come to expect recycled refuse from most of these (Bewitched perhaps occupying the nadir), Get Smart manages to rise above the continuum of regurgitation by walking a tightrope that allows it to appeal to those who have fond memories of the late-1960s spy spoof and those who don't know Don Adams from John Adams. Get Smart is delightfully silly and at times very funny. The characters are likeable and feel connected to their TV counterparts. And, although Mel Brooks and Buck Henry (creators of the original) are not directly involved, the filmmakers have crafted something that both men would likely agree is in the spirit of what they shepherded to the small screen.
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Bridget Jones' Diary
Bridget Jones's Diary is, quite simply, the finest motion picture released by Miramax Films since 1999's The Cider House Rules. Based on the novel by Helen Fielding, the screenplay for Bridget Jones's Diary (written by Four Weddings and a Funeral scribe Richard Curtis) successfully adapts the book into an easily-manageable 90 minute chunk while retaining much of the humor and remaining faithful to the tone. Bridget Jones's Diary is smart, sassy, and thoroughly enjoyable, and features one of the most endearing and believable characters to grace the screen this year.
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If you have a powerful desire to see Jennifer Aniston's bare butt, The Break-Up is not to be missed. But if the former Mrs. Pitt's posterior isn't high on your list of sights to see, the film is better left to unspool in theaters unviewed. The Break-Up is like Danny DeVito's The War of the Roses, but without the wit, the acid, and the blacker-than-black humor. In fact, The Break-Up is most effective when it lumbers into the realm of melodrama, which it does a few times too often for something being touted as a "romantic comedy." For a movie with that label, there's surprisingly little romance, and less comedy. There may be a laugh or two sprinkled throughout but, for the most part, on those occasions when the script tries to be funny, the attempts are thin and awkward. More surprising, however, is the fact that The Break-Up doesn't try hard or often to solicit chuckles. There are times when its seriousness is almost unsettling.
Over the years, I have come to expect great things from Michael Winterbottom. I haven't loved everything he has done, but he has made some powerful movies and even his least inspired films have been watchable. So Code 46 broadsided me, provoking an almost physical negative reaction. I left the theater shellshocked, unable to comprehend that Winterbottom could make something so awful.
Code 46 is like Solaris without the psychological depth and strong acting. The movie is flat, boring, pointless, and nonsensical. It features two of the most lifeless performances in recent memory from Tim Robbins and Samantha Morton, who seem to be feeding off one another's lethargy. Robbins is admittedly a better director than actor, but Morton has done some fantastic work in the past (Under the Skin, Minority Report). It's hard to figure out where she placed her ability when it came to making this movie.
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Woody Allen's 1998 feature entry, Celebrity, is arguably his weakest film in half a decade, failing to reach the level of entertaining mediocrity attained by such middle-of-the-road features as Mighty Aphrodite and Deconstructing Harry, and falling far short of the mark established by Everyone Says I Love You and Bullets Over Broadway. That's not to say that there's nothing worthwhile in Celebrity. In fact, some of the sequences in this black-and-white, episodic ensemble piece are riotously funny, but there aren't enough good moments to counterbalance the negatives. As a result, Celebrity turns out to be a minor footnote on this year's holiday film release roster. (It is also another disappointment for Miramax Films, which has been suffering through an awful year.)
Plunkett & Macleane
Despite employing a modern techno score (that sounds like it was lifted from Run Lola Run) and MTV-style editing, there's something old fashioned and enjoyable about the pure spirit of adventure embraced by Plunkett & Macleane, an 18th century tale about a pair of bandits who become folk heroes. There's nothing deep or ambitious about this production - it's simply a rousing account of the exploits of two likable rogues and the bad-to-the-bone thief catcher who's on their trail. At 95 minutes, Plunkett & Macleane clocks in at the perfect length - pointless chase scenes aren't included for the sole purpose of adding to the running time.
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The Oxford Murders
Wood plays Martin, an American student at the University of Oxford who wants Arthur Seldom (Hurt) as his thesis supervisor. He idolises Seldom and has learned all about him. He takes rooms in Oxford at the house of an old lady, Mrs. Eagleton (Anna Massey), who is an old friend of Seldom. Also in the house is the old lady's daughter, Beth (Julie Cox), who is her full time caregiver — which she resents bitterly — and a musician by occupation.
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The Thirteenth Floor
In late 1990s Los Angeles, Hannon Fuller (Armin Mueller-Stahl) owns a multi-billion-dollar computer enterprise, and is the inventor of a newly-completed virtual reality (VR) simulation of 1937 Los Angeles. When Fuller is murdered, just as he begins premature testing of the VR system, his friend and protégé, Douglas Hall (Craig Bierko), becomes the primary suspect, and begins to doubt his own innocence.
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The Tall Guy
Dexter King plays straight man to unpleasant comedian Ron Anderson. He falls in love with Kate, a pretty nurse he meets when he is receiving injections for hay fever. When Anderson fires him, he acquires the title role in a musical stage version of The Elephant Man. Kate dumps him when she suspects he is having an affair with a fellow cast member, and he must win her back.
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Alejandro, a tough and ambitious Latino street orphan on the verge of adolescence, lives and works in an auto-body repair shop in a sprawling junkyard on the outskirts of Queens, New York. In this chaotic world of adults, young Alejandro struggles to make a better life for himself and his 16-year-old sister, Isamar.
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Beautiful Carmen Colson and her ironworker husband Wayne are placed in the Federal Witness Protection program after witnessing an extortion scheme go wrong. Thinking they are at last safe, they are targeted by an experienced intimidating hit man and a psychopathic young upstart killer. The ensuing struggle will test Carmen to the limit.