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Antichrist, like many films by its Danish director Lars von Trier, has had the foaming-mouthed witch burners of the popular press out in full, end-of-the-world effect. It is, they hiss and scream with the moral certainty of which only the most self-regarding ideologues are ever capable, a work of pornography.
Turistas is the first film from 20th Century Fox’s new “youth-oriented” division Fox Atomic. If Turistas is symptomatic of what they’ll be offering, “youth-oriented” apparently means violent, gory, rated-R torture movies. Well, that’s not really fair. The film takes quite awhile to get to the violence and gore; before that it’s mostly excessive drinking and gratuitously exposed boobs. Hi kids!
Taking its clue from recent British imports like Brassed Off! and The Full Monty, Billy Elliot combines whimsy, comedy, and socially-conscious drama into a crowd-pleasing whole. Although neither revolutionary in its approach or subject matter nor seamless in its storytelling, Billy Elliot nevertheless manages to sketch the lives of characters we come to care about. Its appeal lies in the way it draws the audience into a bond with the protagonist and the manner in which it avoids painting the supporting players with one brush. The men, women, and children inhabiting the world of Billy Elliot come alive.
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Blades of Glory
Will Ferrell can be the most maddening of comedians. There are times when he's so funny it hurts to watch him. Then there are times when he's so unfunny it's painful in a different way. Consistency, thy name isn't Ferrell. Blades of Glory is pretty much Talladega Nights on skates. It does for figure skating what the earlier film did for NASCAR - right down to the product placements. There are funny bits strewn about but the movie as a whole is a bit of a yawn. Blades of Glory is a feeble satire that doesn't do much that's incisive or interesting, and the tame PG-13 rating keeps the raunchiness in check.
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Mother is a most atypical murder mystery. This is not only because it features an aging female "detective" who represents a bizarre fusion of Miss Marple and Jane Tennison, but because the surreal style contradicts the normally gritty approach we have come to expect from the genre. The movie opens in an almost comedic fashion (albeit one in which the humor is decidedly macabre) and looks for a short while as if it's going to be a satirical social commentary. From there, however, it gets dark and serious. There are twists aplenty and if some of the deductions arrive too easily as a result of contrived clues and convenient witness testimony, those credulity hurdles are easily vaulted in the name of a good story. Mother delights in confounding viewer expectations. In fact, just when you think it's over, a couple of plot developments remain lurking around the next corner.
There was a time when David Lynch made coherent, challenging motion pictures. Love it or hate it, there's no doubt that Blue Velvet was one of the most talked-about motion pictures of the 1980s. Some consider it to be a masterpiece, while others view it as exploitative trash. Nevertheless, at least the narrative makes sense. The script requires the viewer to pay attention, but everything ties together in a sensible manner. Something similar could be said about Lynch's next outing, Wild at Heart. It's a little more out there, but still not totally outrageous. Next came "Twin Peaks", the television series that started out as one of the most compelling hour-long dramas ever to air on a network before devolving into silliness. Lost Highway followed on the heels of Twin Peaks: Fire Walk With Me, with neither picture telling a linear or comprehensible story. The Straight Story seemed to put Lynch on a different course, but, with Mulholland Drive, the filmmaker is back to his old tricks.
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Pleasantness and affability reign supreme in Steven Soderbergh's sequel to the remake of Ocean's Eleven. This time around, even the bad guys don't seem so bad. Rumor has it that the atmosphere on the set of Ocean's Twelve was so easy-going that it was more like summer camp than a movie shoot, and much of the sense of fun comes across on screen. Everyone who survived the first film is back for the second, including the entire complement of "Ocean's Eleven." There are two high-profile newcomers. Catherine Zeta-Jones plays Europol agent Isabel Lahiri, an ex-flame of Rusty Ryan (Brad Pitt), who is the confidante of Danny Ocean (George Clooney). The there's Vincent Cassel, who portrays "The Night Fox," a rival thief who believes that Ocean's reputation is inflated - a fact he intends to prove by challenging his rival to a thieving competition.
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One hallmark of great cinema is that, even when the story is tragic, a viewer can leave the theater both reflective and satisfied. Jude, Michael Winterbottom's ambitious, big-screen adaptation of Thomas Hardy's heartbreaking classic, Jude the Obscure, fits perfectly into that category. This is a film of tremendous scope and emotional depth that uncovers the soul of a novel and brings it to life on the screen.
In every way that matters, Jude is faithful to its print inspiration. The rhythm of some of the dialogue has been changed to make it sound more natural to contemporary viewers, and a number of minor characters have been deleted, but the story arc is rigorously true to Hardy's vision. One of the great strengths of the novel is that it centers on two believable, sympathetic characters. Jude effectively captures not only their humanity, but their uniqueness, fashioning a delicate rapport between them and the audience.
Although Michael has matured well since the first film, he still feels that by birthright he deserves to start at the top of his father's law firm, whereas his father tells him that he will start him as a job clerking in order to learn the profession from the bottom up. Michael takes a summer vacation with Tommy to Australia.
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Lyle Jensen (Joseph Gordon-Levitt) is admitted to the juvenile psychiatric ward of a hospital after beating another teen with a baseball bat during a baseball game; the other teen thought "it was funny" that Lyle's father was physically abusive. It's Dr. David Monroe's (Don Cheadle) job to get Lyle to talk in group therapy sessions. Lyle's mother placed him in the institution against his will after the incident in hopes of helping him control his anger. Lyle is placed in a room with Kenny (Cody Lightning) a reticent, thirteen-year-old victim of child molestation and they form somewhat of a sibling relationship. Lyle has problems adjusting to the confinements of the institution; he continually has confrontations with Michael (Elden Henson) and the two come to blows multiple times. One night, Lyle is awoken by screaming; Tracy (Zooey Deschanel), another patient, has recurring nightmares of her rape.
The Haunted Mansion
Jim Evers (Eddie Murphy) is a workaholic real estate agent who has little time for his family, wife Sara (Marsha Thomason), thirteen-year-old daughter Megan (Aree Davis), and ten-year old son Michael (Marc John Jefferies). After missing his own wedding anniversary to seal a business deal, Jim promises his family to go on a weekend away to a nearby lake. Sara is contacted by the occupants of the Gracey Manor, located in the bayou swamps of New Orleans, and an eager Jim drags his family along to do business at the house. They meet Master Edward Gracey (Nathaniel Parker), his stern butler Ramsley (Terence Stamp), and other staff Emma (Dina Waters) and Ezra (Wallace Shawn). Master Gracey invites the family to stay the night when a rainstorm floods the nearby river. Jim is taken to the library by Ramsley, Jim becomes trapped in a secret passageway. Michael and Megan encounter a "ghost ball" which leads them to the mansion's attic where they find a portrait of a woman resembling Sara. Sara meets Master Gracey who explains that his ancestor's lover Elizabeth Henshaw (Marsha Thomason) seemingly committed suicide via poison, and his ancestor followed suit via hanging.
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Calvin Marshall is a charismatic student at Bayford City College. When he tries out for the baseball team for the third straight year, ex-minor leaguer Coach Little is exasperated by Calvin's persistence despite his lack of baseball skills. Determined to make the team, Calvin wins Little over with pure heart and love of the game. While rehabbing during an injury, Calvin announces games for the Lady Bisons volleyball team and is entranced by their star, Tori. Preoccupied with caring for her sick mother and more interested with meaningless flings, Tori is unsure what to make of Calvin's advances.
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The story centers on two sisters (Clare Grant and Jillian Murray) who visit the Skull City Mine roadside attraction in the desert. Their plight turns into a fight for survival against menaces both human and supernatural.
On their last weekend together, Megan and Abby Graves become lost in a remote part of the Arizona desert where they are lured to Skull City, an abandoned mine town. But Skull City is anything but abandoned—and there’s no way out.
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Duets is a road-trip comedy which revolves around the little known world of karaoke and the whimsical characters who inhabit it. Theres the struggling singer who dreams of making it to the big time, a frustrated salesman who ends up on an unexpected road trip, the dysfunctional family performers which includes a con-artist and his long lost daughter, and an escaped convict with the voice of an angel. All roads lead to Omaha, site of a national karaoke competition where this motley group of singers and stars come together for a blow-out sing-off.
Several couples head upstate to the country to watch a boat being built. Unfortunately they are stalked by a murderer behind a ghoulish mask.
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Dangerous Days: Making Blade Runner
The definitive three-and-a-half hour documentary about the troubled creation and enduring legacy of the science fiction classic Blade Runner, culled from 80 interviews and hours of never-before-seen outtakes and lost footage.
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