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It becomes ever so obvious that Turtles Forever, as it speeds forth to its climactic battle, is for the fans. Whether it's the bittersweet surprise appearances in the final moments of the movie, the setting for the climactic battle between the Turtles and Shredder, or the plethora of cameos that pop up at one moment in particular that will undoubtedly max out the pause button on many remotes, there is no doubt who the audience is for this movie. While it's so easy for a movie such as Turtles Forever to be nothing more than an excuse for fan cameos and baiting, there is a little more at work here, signifying something bigger. Brining together so many different aspects of these beloved characters, Turtles Forever seems to perfectly encapsulate the past 25 years of the franchise.
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The idea of a guy talking through a puppet is inherently funny. Like many of you, I watched a lot of Full House and especially loved when Joey Gladstone brought out ďMr. WoodchuckĒ and would make wood-puns. The Beaver, however, is no laughing matter. Directed by Jodie Foster, itís a story about a manís inner turmoil and the lengths he will go to in order to shut himself off from the world. The puppet isnít a prop for jokes; instead, itís a sign of desperation. Despite having what many would consider a hokey premise, The Beaver turns out to be a sweet and effective movie, though little snags keep it from as great as it could have been.
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Harry Potter and the Deathly Hallows: Part 1
So the end of the journey is here. Well nearly, because as with the forthcoming Twilight and Hobbit adaptations, Harry Potter and the Deathly Hallows has been split in two, Part 1 hitting this Christmas and Part 2 concluding the saga next summer.
The filmmakers claim that the decision was taken to do justice to J.K. Rowling's lengthy final tome, and while it does allow the audience to spend more time with these beloved characters at this most significant time, one can't escape the feeling that Part 1 is all set-up and no pay-off, resulting in a somewhat empty cinematic experience.
Director David Yates -- helming his third Potter flick -- clearly revels in the additional hours afforded him, taking his time to set the scene for the story's big finale.
He builds an oppressive sense of melancholy from the off, with Harry, Ron and Hermione preparing to leave home, perhaps for the last time. In a particularly touching scene, only alluded to in the book, Hermione removes her parents' memories of their only child to protect them for the inevitable, fast-approaching war.
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Dr. T and the Women
Few will deny that Robert Altman is among the greatest working American directors. His best films - M*A*S*H, Nashville, The Player, and Short Cuts - occupy unassailable perches of artistic and creative achievement. With a filmmaker of Altman's talent, we have come to anticipate something amazing every time out - which, as most people would acknowledge, is an unreasonable expectation. Even masters like Hitchcock, Kurosawa, and Bergman had their failures. In recent years, Altman has been in a minor slump. His latest batch of movies, which have included Kansas City, The Gingerbread Man, and Cookie's Fortune, have represented minor entries on his resume. Now, with Dr. T and the Women, he has sunk lower. While it's impossible to call anything fashioned by a man of Altman's skill unwatchable, there are times when this pedantic and dull effort comes close.
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One of the most depressing movie-going experiences I can think of is to sit through about 90 minutes of a so-called "comedy" and not laugh once. Unfortunately, that is becoming an all-too-common occurrence. Rob Schneider's The Hot Chick is the most recent example, but it's certainly not the only example. The problem isn't so much one of personal taste where humor is concerned, but a basic inability to make the material funny. I see all the jokes. I understand what the filmmakers want us to laugh at. But the delivery doesn't work. Unless you're a member of a certain demographic, "idiotic" and "moronic" do not equate to "hilarious." Why do audience members laugh when Rob Schneider takes a header down about 100 steps? Not because there's any real humor in the situation, but because the filmmakers expect viewers to laugh, and we have been programmed to laugh, even if that laughter is more of a knee-jerk reaction than something that bubbles up from deep within.
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Looking for Comedy in the Muslim World
Looking for Comedy in the Muslim World is a great title with a great premise for a not so great film. The comedy of Albert Brooks is delicate stuff - self-deprecating one-liners that need the perfect context to generate laughter. Films like Mother and Lost in America have given Brooks' humor the necessary framework; Looking fails to do so. While there are some amusing moments sprinkled throughout the production, the words "Looking for Laughter" seem oddly appropriate for a motion picture that never achieves the right level of comedic momentum.
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It's the nature of our society to put people on pedestals. Some wear the title of "hero" like a mantle; to others, it is an albatross. You need look no further than the O.J. Simpson story to see this. So what defines greatness? This question, in conjunction with the reality gap that so often exists between the media's portrayal of a public figure and their actual personality, lies at the core of Cobb, a new film from writer/director Ron Shelton, the man who brought us the baseball comedy Bull Durham.
Henry Bromell's Panic, is a perfect example of what the average independent film has become in 2000. It features recognizable stars and has the kind of storyline with the potential to play reasonably well in the average American multiplex. Like Grosse Pointe Blank, Analyze This, and TV's "The Sopranos", Panic features a premise that's quickly growing tired - that of a gangster/bad guy who visits a shrink. In this case, the patient is Alex (William H. Macy). Ultimately, the film is less about his relationship with his doctor (played by John Ritter) than about the reasons he's seeing a psychologist in the first place.
It should be a relaxing weekend in a remote cabin in the woods, as far away from big city bustle and the usual routine. But for the group of young people who wanted to meet here for camping, there is different. When they find a mysterious game and play it every warning in spite of immediate, not yet knowing that they evoke three hideous ghosts witches who only have one thing in mind: the death of the group. Only whom it is possible to solve various mysteries in time to escape their clutches, for the parties to a merciless race starts at life and death.
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Bartleby Gaines (Justin Long) is a persuasive high-school senior who, among other pranks, creates fake IDs. His gifts do not extend to grades, however, and he receives rejection letters from all of the universities and colleges to which he applies, including those with high acceptance rates. In an attempt to seek approval from his strict father (Mark Derwin), Bartleby creates a fake college, the South Harmon Institute of Technology (S.H.I.T.). He is aided by his friend Sherman Schrader III (Jonah Hill), who has been accepted into the prestigious Harmon College, and fellow rejects Rory (Maria Thayer), who was rejected from Yale University, the only school she applied to, Hands (Columbus Short), who lost his athletic scholarship after an injury, and Glen (Adam Herschman), who got a "0" on the SAT when he neglected to sign his name.
An Evening with Kevin Smith 2: Evening Harder
In this second QA with Kevin Smith he now enters the homes of some of his fans in Toronto and London.
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A hard-boiled tale of bloody revenge... Cash, a gun-slinging ex-convict, is on a death quest to find Hector Gonzales, the man who murdered his wife over a decade ago. Hector Gonzales is a ruthless kingpin who has risen through the ranks over the last ten years and now stands on the verge of ruling the city - a city on the verge of an all out syndicate war. Cash and Gonzales are on an ultra-violent collision course that will determine, once and for all, who owns the streets.
Two young children are stranded in the Australian outback and are forced to cope on their own. They meet an Aborigine on walkabout a ritualistic banishment from his tribe.
Small-town detective Noah Cordin is called to solve a juvenile homicide that occurred during a home burglary in his affluent town of Hilliard. The dead boys mother, Allison Connor, is a member of the Meskada County Board of Commissioners, and a powerful woman in Hilliard and the entire township rallies together in solidarity - to support her and Detective Cordins efforts to find the killers.
My Daughter, My Angel
In the evening, when there is no his wife, Zherman visiting pornographic sites, he accidentally falls into the pictures of his daughter Natalie, which advertises the upcoming movie with her participation. Dropped everything, Zherman going to Montreal in order to convince Natalie not to take part in the filming.
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