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The Virginity Hit
The idea of a bunch of high school teens trying to get laid was a surprisingly refreshing convention when American Pie reused it back in 1999. The film updated the classic teen sex comedy formula and offered a delicate balance of raunchy and sweet, caring not only about our male leads, but their female lovers – whose needs were just as important (if not more so) as the men.
Now, more than 10 years later, things have most certainly changed. The teen sex comedy feels drained once more – worn out and often just filled with mindless sex, nudity, drug use and crass behavior. Some of it is funny, but most films fail to deliver anything of note. The only filmmaking team that really seems to find success in the genre is the Apatow gang, but even they've branched off from the genre, focusing less on films like Superbad and The 40-Year-Old Virgin, and sinking deeper into more mature films. Director Greg Mottola (who also directed Superbad) had some fascinating and poignant observations in Adventureland, but that film failed to garner much interest.
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Like smog settling over Los Angeles, a creeping sense of anomie haunts the Hollywood power players and parasites sidling nervously through “Shrink,” a portrait of a disenchanted therapist to the stars and his clientele. Directed by Jonas Pate from a screenplay by Thomas Moffett, based on a story by Henry Rearden, this dissection of a soul-sick community of self-medicating actors, writers and agents would like to think of itself as a contemporary “Play It as It Lays,” only kinder and gentler.
Nowadays, when you hear people talking about “the Facebook movie,” chances are they mean “The Social Network,” David Fincher and Aaron Sorkin’s soon-to-open inquiry into the rise of Mark Zuckerberg, one of the founders of Facebook. But the description might be even better suited to “Catfish,” a documentary by Henry Joost and Ariel Shulman that caused some hyperventilation at the Sundance Film Festival last winter.
Wargames. The Dead Code
WarGames: The Dead Code is neither a sequel to nor a reimagining of the Matthew Broderick/Ally Sheedy 1980's classic. It is best classified as a hybrid of the two, featuring a plot and story structure similar enough to the first one to be politely called an homage, while containing enough characters and storyline to be called a sequel.
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Ang Lee's follow-up to Brokeback Mountain is Lust, Caution. The film's receipt of an NC-17 by the MPAA was dutifully noted by the mainstream media, as was the distributor's (Focus Features) decision not to appeal the rating. NC-17 movies aren’t released often and, when they are, they rarely make an impression at the box office - some mainstream multiplex chains refuse to show them and some newspapers will not advertise them. This has earned the NC-17 the nickname of the "kiss of death." So, before discussing the merits of Lust, Caution, I'll first answer a question at least a few readers are interested in understanding: Why the NC-17? What is there about this movie that makes it cross the border from the ever-widening realm of the R?
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District B13 is action porn. It's a series of amazingly choreographed, kinetic action sequences tied together by a laughably bad script and worse acting. Substitute sex for violence and you'd have a typical hardcore XXX feature. The director is Pierre Morel, a cinematographer making his directing debut, but it should come as no surprise to see Luc Besson's name as both a screenwriter and producer. Besson (La Femme Nikita, The Professional) has spent most of his career proving to the world that not all movies coming out of France have to be slow and talky. He's the anti-Rohmer. Nowhere is that more evident than in something like District B13.
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There are two ways in which one can consider The Nativity Story. As a piece of religious instruction or an animated version of a crèche, it accomplishes its aims. As a movie, however, it's slow, plodding, and not terribly interesting. There's also an unmistakable whiff of exploitation to be found. Although I'm sure the people directly involved with the making of the movie came to it with the best intentions, one can scent what smells suspiciously like greed coming from the corporate level. (Keep in mind that New Line Cinema is best known for its horror franchises - it owns both Freddy and Jason.) The desire to ride The Passion of the Christ's coattails is understandable - that movie was a bona fide blockbuster. However, The Nativity Story isn't in the same league. It's an uninspired re-telling of a Bible story that every Christian knows by heart.
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It's a pleasant thing to encounter occasionally a movie in which people are portrayed as decent (if flawed) individuals. In The Visitor, there are no human villains. No one wears a black hat. The antagonist is The System - the nameless, faceless arm of a bureaucracy that flexes its muscles and crushes whoever happens to be in its grip at the time. In this case, it's the Immigration Department, but it might be any of thousands of government and private organizations where the "human element" has been eliminated in favor of procedures. However, while the struggle against The System forms an important aspect of The Visitor, this is much more about the growth of one man who discovers that the island of solitude is a cold and lonely place.
We all know Richard Jenkins even if we don't recognize the name. He's a character actor who has appeared in supporting roles with increasing regularity since the early '80s. The Visitor, written and directed by The Station Agent's Thomas McCarthy, gives Jenkins a rare lead part and he brings to it a mixture of pathos and wit. The chief pleasure of The Visitor is in watching Jenkins' character, Walter Vale, grow. Jenkins never overplays the role, opting for a low-key approach that makes the one scene where Walter boils over all the more effective. A lot of heart goes into the performance; when Walter encounters something that gives him a brief flurry of happiness, we smile with him.
The Reader is closer to a near miss than a rousing success but, on balance, this is still worth seeing for those who enjoy complexity and moral ambiguity within the context of a melodrama. Based on the novel by Bernhard Schlink, the film asks big questions about the nature of evil and how sin, like disease, can be contagious. And, while not making excuses for those who participated in the Holocaust, The Reader becomes the latest Nazi-related motion picture to question whether redemption is an option or a possibility for someone who has committed monstrous acts.
The film is told bookend style (an unnecessarily convoluted approach), with the lead character, Michael Berg (Ralph Fiennes as an adult; David Kross as a teenager) reflecting on his life from his current time period, which is 1995. Michael's first meeting with Hanna Schmitz (Kate Winslet) occurs in West Berlin in 1958. She is a somewhat reclusive toll taker on trams; he is a 15-year old boy coming down with Scarlet Fever. She finds him doubled over near her apartment and brings him home. After recovering from the illness, Michael seeks her out to thank her and the two begin an affair. It is brief but passionate and combines sex with episodes in which Michael reads passages of literature to her. Eventually, perhaps recognizing that she is holding Michael back, Hanna vanishes. Michael learns nothing more about her until 1966, when she goes on trial for contributing to the murder of 300 Jews while she was serving as an SS guard at Auschwitz.
The new Ivan Reitman/Arnold Schwarzenegger comedy is a one-joke affair, and it takes surprisingly little time for the potential humor in the situation to wear thin. As a result, the viewer is left with about ninety minutes of suffering through Schwarzenegger's attempts to act -- certainly not his strong suit. Put simply, Junior demands more range from its leading man than he's capable of giving. The predictable result is a big-budget mess more likely to elicit groans than laughter.
The characters drive to a remote location to hike at a site marked "Wilderness Trail". As they start, they see some other hikers passing by. After some walking, talking, and an impromptu foot race, they decide to head back. Before long, they realize that they are lost. That night, they build a campfire.
Michelle Rosen is a poor girl who is the 'new kid' at her high school. Jealous of the popular cliques, she spends her lunch reading under a tree when approached by the handsome football star, Aaron, who invites her to a party. Aaron's ex-girlfriend, Debbie, a member of the popular clique makes up rumors about Michelle. At the party Aaron slips Michelle a roofie, and gang rapes her with his friends. The rapists' girlfriends then assume that Michelle seduced them, duct tapes her to a tree, and writes "slut" on her forehead. Later at school, Michelle finds posters all over the hallways stating "Michelle Rosen is a slut". She then gets her revenge with a series of bloody murders.
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Cookie and her brother run away from their loveless mother in the province and arrive in New York. At the train station Cookie meets the fancy man Duke. With his charm he makes her fall in love with him and soon has her working as prostitute. However his brutality against her colleagues disgusts her.
Country Blue aka On the Run
Young and in love, she broke the law... the law broke her.
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It is the mid-70s. A sinister cult called Unity Fields commits mass suicide in a horrific manner - by fire - at the behest of its psychopathic leader, Harris. Only one young woman named Cynthia survives to tell the tale. Now, 13 years later, Cynthia is having grim reminders of the mass-suicide, as people around her begin to die one at a time. Cynthia finds out quickly that the ghost of Harris is back... to claim his love child.
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Several residents of a small Southern city whose lives are changed by the arrival of a stranger with a controversial plan to save their decaying hometown. In the midst of todays challenging times, each of the colorful citizens of this close-knit North Carolina community, will search for ways to reinvent themselves, their relationships and the very heart of their neighborhood.
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