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The Imaginarium of Doctor Parnassus
The Imaginarium of Doctor Parnassus, the long-awaited final film of the late Heath Ledger and the latest storied labor of love from director Terry Gilliam, follows a traveling theatre led by the aged Parnassus (Christopher Plummer), who possesses quite the gift of imagination. Audience members can pass through a magical mirror, wherein Parnassus' mind powers creates an alternate reality where they're faced with moral choices. Parnassus also harbors a dark secret: centuries ago, he made a deal with the devil, Mr. Nick (Tom Waits), for immortality and youth, and in exchange he would give Mr. Nick his (at that point unborn) daughter once she turned 16.
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Made of Honor
In this year’s summer preview edition of Entertainment Weekly, Made of Honor producer Neal Moritz all but admits his movie is little more than a rehash of other successful romantic comedies. He says, “we couldn’t do My Best Friend’s Wedding again, but we could do the reverse of it.” Unfortunately, they haven’t even done that much to differentiate it from the dozens of other similar movies we’ve all seen. Sure they’ve cast a guy in the role Julia Roberts played back in 1997, but he’s barely a guy, and at times the script treats him as if he’s a woman. Meanwhile it’s 2008 and Made of Honor feels like it’s still stuck there, back in good old 1997.
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In the good old days, around 1925, according to “Leatherheads,” professional football was a lot more fun, a rough, ragged enterprise, untrammeled by corporate influence and unconstrained by rules and regulations. And in the slightly more recent old days — the ’30s and ’40s, more or less — movies were also more fun. They had zip, pep, moxie, trains, hats and double-entendres.
Let me start with a disclosure: I have not read the Alex Garland novel upon which The Beach is based, so I'm not in a position to discuss firsthand whether or not it butchers its source text (according to some reports, it does). The film represents a reunion of the Shallow Grave, Trainspotting, A Life Less Ordinary trio of director Danny Boyle, producer Andrew Macdonald, and screenwriter John Hodge. Missing is star Ewan McGregor, but he has been replaced by none other than Leonardo DiCaprio, in his first post-Titanic role (The Man In the Iron Mask, which was released after Cameron's blockbuster, was filmed before it). Sadly, while DeCaprio does a credible job as the protagonist and The Beach represents a great piece of eye candy, this film as a whole is a mess.
Girl with a Pearl Earring
Girl with a Pearl Earring is the first feature for director Peter Webber. Most freshman filmmakers don't come close to Webber's level of accomplishment, and (not to take anything away from him) some of the credit must certainly be parceled out to the cast and the cinematographer, Eduardo Serra. Girl with a Pearl Earring offers sumptuous visuals and compelling drama effectively intermingled in a pleasing, satisfying production. The director has crafted the film with great care, composing each frame like a painting with respect to color, light, camera placement, and texture. Girl with a Pearl Earring could be silent and it would still be an amazing achievement. Indeed, the dialogue is sparse, which forces the performers to do most of their acting with expressions and body language - something Scarlett Johansson (who can also be seen in Lost in Translation) excels at. By reading her eyes and face, we understand her thoughts.
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The Producers is a movie based on a play based on a movie about a play. And that's probably the funniest thing about it.
In 1968, Mel Brooks made his big-screen directorial and writing debut with The Producers, a slapstick farce about how two Broadway producers concoct a scheme to get rich by making the worst play in the history of the Great White Way. Predictably, what should be a colossal failure turns out to be a smash hit. Despite a delightfully wicked premise and a couple of delicious lines, The Producers is not on par with Brooks' other early films. It's not consistently clever or funny, and there are long, tedious stretches when one obvious joke after another falls flat. Brooks would hit his stride six years later with Blazing Saddles and Young Frankenstein. The Producers shows little of the humor evident in those (and other) movies.
Baz Luhrmann's Moulin Rouge is a rigorously accurate historical account of events that occurred during the period between 1899 and 1900 in Paris' infamous Moulin Rouge nightclub. Luhrmann's meticulously researched motion picture uncovers several shocking truths previously unknown to historians - for example, it seems that musical luminaries like Elton John and Paul McCartney are guilty of plagiarism - songs credited to them were originally penned by a little-known songwriter named Christian and performed at the Moulin Rouge.
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The Crow will forever be remembered as the final performance of budding star Brandon Lee, who died as a result of a tragic behind-the-scenes accident. However, as intense as the hype associated with Lee's death was, it could not obscure the most impressive aspect of the 1994 feature: director Alex Proyas' startling, unforgettable vision. It's rare for any film maker, whether a veteran or a newcomer, to create the kind of compelling, endlessly-fascinating environment that Proyas brought to the screen in The Crow. Now, with his follow-up movie, Dark City, the director incredibly manages to one-up himself.
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Kill the Irishman
Over the summer of 1976, thirty-six bombs detonate in the heart of Cleveland while a turf war raged between Irish mobster Danny Greene (Ray Stevenson) and the Italian mafia. Based on a true story, KILL THE IRISHMAN chronicles Greene's heroic rise from a tough Cleveland neighborhood to become an enforcer in the local mob.
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James Clayton (Colin Farrell), a computer programming expert at MIT, is recruited by senior CIA instructor Walter Burke (Al Pacino) to test for a position with the agency. Clayton agrees, in part, to find information concerning his father who he suspects was a CIA operative that disappeared when Clayton was a child. After passing numerous psychometric, psychoanalytical, aptitude, and polygraph tests, Clayton is taken to The Farm, a CIA training facility. There, Burke and other instructors teach the candidates the skill sets of espionage, covert operation protocols, and intelligence gathering techniques. During a surveillance exercise, Clayton and fellow recruit Layla Moore (Bridget Moynahan) are kidnapped by men apparently from a foreign intelligence service.
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25-year-old Alex Borden is handsome, charming, and intelligent. In fact, he may be too smart for his own good as his life is swiftly becoming a living hell. Alexs nightmare begins when he meets Harry, a mysterious artist and chess-master. Alex becomes alarmed when his intellect mysteriously begins to grow, and so do the horrors that invade his nightmares, and soon his waking hours. Long-suppressed memories surface and Alex must face the terrors of his violent past, a vanished older brother, a father who abandoned both his sons, and a mother who was viciously murdered. The visions intensify and he begins to experience intense headaches that ultimately cause him to blackout. But it is only the beginning of Alexs calamity. Friends and neighbors are disappearing, and people are whispering rumors of a serial killer. Menaced from all sides by the forces of evil, Alex must overcome his past and contain his own deadly urges so he can hopefully discover what demons, both real and imagined, are stalking him.
An 80s rock star, a corporate lackey, and an evil mother-in-law all die bizarre deaths. But when the dead suddenly start coming back to life, these three zombies find that picking up where they left off isnt as easy as theyd hoped.
Creatures from the Pink Lagoon
In a small town in 1967, plucky young sissy Phillip is about to celebrate his birthday at the beach cottage owned by his best friend Stan. All of Phillips friends are gathered for the festivities, including Stans hunky-but-impulsive boyfriend Billy, Billys shy, nerdy cousin Joseph, and Randall, the chain-smoking, bitter queen of the bunch. Meanwhile, a horde of libidinous gay men - turned into ravenous flesh-eating zombies by toxic mosquitoes at a cruisy highway rest stop - are making their way towards our oblivious celebrants, eating every man in their path. With body parts washing up on shore and party guests disappearing, our heroes must find a way to stop the zombie onslaught. Will Stan keep the rotting corpses out of his spotless home? Will Joseph work up the courage to declare his love for Phillip? Will Billy keep it in his pants long enough to stay alive? Will Phillips cheating boyfriend make it to the party - and if so, will he be there to save them, or to eat them? No one is safe in this campy mix of classic B horror flicks and pre-Stonewall gay melodramas.
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Jack Brooks: Monster Slayer
As a child Jack Brooks witnessed the brutal murder of his family. Now a young man he struggles with a pestering girlfriend, therapy sessions that resolve nothing, and night classes that barely hold his interest. After unleashing an ancient curse, Jacks Professor undergoes a transformation into something not-quite- human, and Jack is forced to confront some old demons... along with a few new ones.
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Left Behind III: World at War
Its been eighteen months since Nicolae Carpathias rise to power, and has been captivating the whole world, including President Fitzhugh. There are some far away, who suspect hes something more, the prophesied Antichrist. After a failed attempt on the Presidents life, Fitzhugh must call on Buck and Carolyn Miller to uncover the mystery. Meanwhile, the rest of the Trib Force group Rayford Steele, daughter (and now Bucks wife) Chloe, Pastor Bruce Barnes and the newest member Amanda White to uncover the mystery. Soon the lives of President Fitzhugh and the Tribulation Force will be connected in ways they couldnt have imagined.
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A power vacuum develops when the top mob boss flees a federal indictment.
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