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A sumptuous, exhilarating and disturbing examination of the thin line between genius and madness and the lengths to which an artist will go to achieve perfection, Black Swan cements Darren Aronofsky's place as one of the most important filmmakers working in cinema today.
Something of a companion piece to his last release - The Wrestler - the film substitutes backwater wrestling rings for the New York ballet and the suplex for the pirouette, but retains the sense of desperation felt by the main character in their chosen profession.
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Transformers: Revenge of the Fallen
Set two years after the events of the first film, Transformers: Revenge of the Fallen finds Optimus Prime (voice of Peter Cullen) and his Autobots working alongside a multi-national, top secret military unit dubbed NEST -- which includes returning characters Captain Lennox (Josh Duhamel) and Master Sergeant Epps (Tyrese Gibson) -- to hunt down the remaining Decepticons hiding around the globe. There is a new administration in Washington – unlike the previous film, which implied that the president was George W. Bush, the new movie specifically refers to Barack Obama – that is at odds with the military about how to handle the alien robot dilemma, which remains a secret to the world at large. Intrusive National Security Advisor Theodore Galloway (John Benjamin Hickey) wants to disband NEST and have the Autobots leave the Earth, much to the chagrin of the military and Optimus Prime.
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Hotel For Dogs
I'm not really a dog person, myself. I prefer cats. I like cats that sleep a lot and purr and occasionally do something adorable, like trying to rip your arm off. However, I did like most of the dogs in Hotel for Dogs, especially the lead canine character, Friday the fluffy white mutt. For the most part, these dogs don't have human qualities forced upon them but are funny and sweet in a naturally canine fashion, and they run circles around the human characters in more than one way.
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1968 Tunnel Rats
The year is 1968 and a new group of recruits have arrived at an isolated U.S. Army camp in the Vietnamese jungle. They will be expected to flush out the enemy from the vast network of tunnels the Viet Cong have created under the ground, but first they have to get used to the terrible food the're expected to eat, and face up to their brutal sergeant (Michael Paré), never mind the possible fate at the hands of the opposing army. The sergeant has ordered a prisoner they have captured to be executed, something the troops have little stomach for, but this is merely part of the ongoing horrors of war...
What's this? An Uwe Boll film not based on a computer game? Yes, it's true, for this was a Vietnam War movie based on a story by Boll's regular producer Dan Clarke, although scripted by the notorious co-producer and director. In essence this was his version of Platoon, and looks very similar to that spate of eighties works on this subject, with plentiful swearing, bloody death and a supposedly clear-eyed and regretful look at the conflict. Funny thing with this is that although we get a fairly good idea of the camp and the tunnels, you're less convinced that there is any extensive combat going on elsewhere.
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In recent years, I have complained about the inability of movies to close strongly. Numerous films with promising beginnings and middles have fallen apart at the end. Thankfully, that's not the case with The Dukes, where a satisfying final half-hour redeems the mediocre 60 minutes that precede it. After starting with a lackluster introduction and a by-the-numbers heist sequence, the film concludes with an upbeat and appealing final act that recalls Big Night. And, in something of a surprise for a movie germinating from the pen and camera of perennial bad guy Robert Davi and starring Davi and Chazz Palmineteri, The Dukes has a big heart and no penchant for violence. The rating is a soft PG-13, making this entirely suitable for family viewing. Not since David Lynch went G has there been such an unlikely cinematic occurrence.
Saw is for hard-gore horror aficionados only. To appreciate Saw in its full gory, you have to have a penchant for productions that bask in the traditions of the Grand Guignol. While most of the film relies more on psychological tension and terror, there's plenty of gut-churning, visceral violence, especially during the final 15 minutes. That's the time period when James Wan's otherwise compelling feature goes a little too far over the top, veering out of its David Fincher-inspired darkness into the realm of self-parody. There's lots of blood, plenty of hysteria, and perhaps one twist too many. On the strength of a grippingly original concept and 90 strong minutes of building action, Saw gets a recommendation, but only if you like this kind of thing.
Despite dismal box office results across-the-board, the major movie studios have yet to figure out that the American public is not interested in preachy movies about the war in Iraq. Filmmakers interested in producing compelling dramatic films about the Iraq conflict should look to the Vietnam war oeuvre, which contains many superior motion pictures. Unfortunately, what we have been immersed in thus far with the Iraq-based war stories tends to be simplistic and uninteresting. The underlying premise goes something like this: War is hell, the U.S. government is deceitful, and soldiers are being irrevocably damaged. Whether I or any other viewer agrees with this is not the point. It's the job of the filmmakers to present these themes in an intelligent, dramatically potent manner. With Stop-Loss, Kimberly Peirce is no more effective than the others (including Robert Redford, Brian De Palma, Gavin Hood, and Paul Haggis, among others) who have preceded her down this road. In her zeal to wave the flag of protest, she has lost sight of her characters and the reality of their situation. After a strong start, Stop-Loss becomes driven by a series of contrivances before falling prey to bad melodrama and even a little cheesiness.
Squid and the Whale
The foundation of any good family drama is interesting characters, and The Squid and the Whale is replete with them. Movies about divorce and dysfunctional families are so commonplace that it's difficult to avoid slipping into clichés yet, as a result of a sensitive and literate script coupled with uniformly strong performances, Noah Baumbach's semi-autobiographical feature navigates the minefield without incident. I won't argue that this is a great film, but it is a very good one, and it held my attention from beginning to end.
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Alice and Martin
When it comes to movies about dysfunctional family relationships and emotionally damaged individuals, few active filmmakers do a better job than veteran French director André Techiné (whose films, especially Wild Reeds, have been modest art-house successes in this country). As in his 1993 masterpiece, Ma Saison Preferee, Techiné uses the canvas of his latest picture, Alice and Martin, to explore the delicate and uncertain balance of the relationships between lovers, siblings, and parents and children in an unstable family environment. The film is also about the price of obsessive love and the way in which secrets and their associated guilt have the capacity to poison everything they touch.
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Home of Phobia (aka "Freshman Orientation")
A typical Midwestern 18 year-old freshman at a large state university eager to delve into the college party life, instead discovers that school is not the beer-driven, sexual fantasy of his imagination. Determined to do anything to obtain the girl of his dreams (a gorgeous but reluctant sorority girl), he decides to adopt a gay identity in order to insinuate himself in her life. This casual charade, however, quickly lands him in a morass of campus activism, gender warfare, fraternity hazes, sorority torture, coming out narratives, political martyrdom, and ultimately, a university-wide meltdown.
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The Luck of the Irish
Kyle Johnson (Ryan Merriman) is a popular basketball player in junior high school who has never known about his heritage. He is often told by his best friend, Russell Halloway (Glenndon Chatman), that he is the luckiest person he has ever known. He is always finding money on the street, so he doesn't have to bring lunch money, he never misses a shot when playing basketball, and when he hasn't finished his social studies test, he guesses on all the answers, only to have them be all correct.
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Insight of Evil
Insight of Evil is a ghost story about identical twin sisters. Eight months after one twin is brutaly raped and murdered, Tanya and comforting friends go to a cottage to celebrate their highschool graduation. It quickly turns into a blood bath of survival for Tanya as she unearths the truth into the long buried secret of her missing twin sister.
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In a flashback sequence following the first film, Lawrence Gordon (Cary Elwes) crawls from the bathroom to find help after sawing off his foot. Along the way, he reaches a steam pipe and uses it to cauterize his ankle stump. In the present, Ryan (Jon Cor) and Brad (Sebastian Pigott) awaken in a storefront window in a shopping area in front of a crowd of people, their wrists bound to a worktable. In front of each man is a buzz saw, and their mutual lover, Dina (Anne Lee Greene) is suspended above a third saw. Jigsaw's puppet tells them that they can either kill one another or allow Dina to die, and after realizing her betrayal, they decide to save themselves and allow her to lower onto the saw, killing her.
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A large number of chemically altered rattlesnakes become fearsome killers in this TV chiller. The tale is set in the Mojave Desert and centers upon Sam Parkinson, a noted zoologist, who has come to investigate a series of strange deaths that began with two dead children found near their parents campsites.
Born in East L.A.
Rudy is an American of Mexican descent who is caught up in an immigration raid on a factory. Deported to Mexico as an illegal immigrant, he has no way of proving that he is in fact an American citizen, and is forced to rely on his cunning to sneak his way back home.
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King of the Avenue
Theres no right way to do wrong.
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