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When rock historians and biographers cover John Lennon, they usually wind up defining him and the periods of his life in terms of his relationships from his time spent collaborating on some of the twentieth century's greatest pop songs with The Beatles and the next phase of his life spent as a peace activist and artist alongside true love Yoko Ono.
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P.S. I Love You
It would be easy to dismiss “P.S. I Love You,” about the agonies visited on a young married couple, as the big-screen equivalent of a paperback romance. Certainly the refined critical mind understands that this is the kind of artful emotion machine that the movies have been making since the very first tear slid down an actress’s face, the droplet seen — and experienced — around the world by audiences who answered that bead of dew with a grateful flood of their own. Cry us a river, Mary Pickford!
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Even those of us who habitually favor serious, austere, aesthetically correct drinks — single-malt Scotch, green tea, pomegranate juice, whatever — may occasionally indulge in a frivolous cocktail bedecked with fruit and umbrellas and served in a bulbous, sugar-rimmed glass. The next morning’s headache seems a small price to pay for the rush of cheap liquor and uninhibited conviviality. As long as you don’t operate heavy machinery or wake up in the wrong bed, or operate heavy machinery in the wrong bed, what’s the harm?
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The penguin fetish started in 2005 by the unexpected popularity of March of the Penguins comes to a screeching halt with the latest attempt at cashing in on the worn out American love for the wobbly, tuxedo wearing fowls from down south. Surf’s Up is a blizzard of filmmaking foul ups, a perfect storm of blatant pandering and studio screenwriting by committee. It plays like it was written by a third-rate marketing department as a series of happy meal advertisements. It’s barely a movie at all, much less a good one.
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Have Dreams, Will Travel
Have Dreams, Will Travel is an American coming of age road movie released in 2007. The film changed its title more than once -- and can also be found as West Texas Lullaby and Dream It Out Loud. These changes aim at better reflecting the nature of the story, but result in a greater confusion for the film buffs and the general audience as a whole. The film can be categorized as a drama or romantic comedy as well, and probably the way in which one approaches it will affect the viewing experience.
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Hard Candy is the kind of uncompromising independent motion picture that is likely to foster ambivalence in a significant portion of its audience. Admittedly, the film doesn't stand up well to a careful postmortem (many psychological thrillers don't), but it remains powerful and disturbing during the viewing experience, with flaws only surfacing after the credits have rolled. This movie will be most appreciated by those who don't demand viewer identification with an on-screen individual, because neither of Hard Candy's characters is the sort of person a healthy movie-goer would sympathize with.
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As family features go, Charlotte's Web may be the best we have seen in a while. Technically adept and surprisingly affecting, the movie translates E.B. White's children's book into a motion picture that will enthrall children and engage their parents. The animals come to life with enough credibility that it's not out of the question that a few tears may be shed for a CGI creature. Strangely, even with plucky Dakota Fanning fronting for the human actors, the film loses some of its magic when it moves outside of the barn. Comparisons to Babe are expected and warranted, but one thing missing form this story is James Cromwell.
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50 First Dates
50 First Dates offers viewers a kinder, gentler Adam Sandler. Gone (at least for one movie) is the narcissistic adolescent caught in a perpetual state of arrested development. In his place is a likeable goofball whose rough edges are worn off by a force more effective than sandpaper: falling in love. Although there are moments that will tickle the bellies of longtime Sandler fans (one of which involves gallons of walrus vomit dripping from an individual of indeterminate sex), 50 First Dates is sweet enough to capture the attention, and perhaps affection, of those who would not ordinarily see a movie headlined by this particular star. The fact is, 50 First Dates is more of a romantic comedy than an Adam Sandler comedy.
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Mike Leigh has often been referred to as a prince of misery. His films, grounded in working class reality, are often downbeat. It's hard to argue with their quality or authenticity, but one typically doesn't walk out of a Mike Leigh film with a renewed appreciation of life. His most widely esteemed movie, Vera Drake, is an excellent example of that. The movie received deserved raves for its story, direction, and acting, but it's not the kind of thing one shows to a friend in need of a pick-me-up. That's why the buoyant tone of Leigh's latest, Happy-Go-Lucky, is such an unexpected and welcome change-of-pace. For his part, Leigh is just as grumpy as ever, but he has produced a motion picture that can best be described as optimistic.
Phone Booth became one of a number of post-9/11 films to fall victim to an increasing reluctance on the part of motion picture studios to release movies where on-screen events echo real-world tragedies. Joel Schumacher's thriller was originally set to enter multiplexes in November 2002, but, as a result of the shooting spree by a Washington D.C.-area sniper, 20th Century Fox decided to delay the release. The result makes for a pleasant early-year surprise. Phone Booth is certainly good enough to compete with the fourth quarter crowd. Placed in early spring, it offers viewers the best pure thriller of 2003 to-date.
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Fresh from the Corman camp comes Barbarian, yet another faceless entry in the previously-thought-dead subgenre of Mega-Low-Budget Swords & Sandals. If this movie were any more hilarious, I'd start a nationwide petition to make sure video vendors plunk this one down on the Comedy shelf.
Rare is the turkey this meaty.
NYPD Detective John Shaft is called in to investigate the racially motivated murder of Trey Howard, committed by Walter Wade Jr., the son of a wealthy real estate tycoon. Shaft briefly meets a potential eyewitness to the murder, Diane Palmieri, but she disappears soon after and cannot be found for the trial. Wade Jr. is let off on bail and flees to Switzerland.
Two years later, Wade Jr. returns and Shaft rearrests him for leaving the country. During his temporary incarceration at police headquarters, Wade Jr. meets Peoples Hernandez, a Dominican drug lord. Wade Jr., his passport relinquished, is let off on bail again, and in frustration Shaft resigns from the police force, promising to bring Wade Jr. to justice on his own terms. Worried that Shaft might find the missing eyewitness, Wade Jr. hires Peoples to find and kill her first.
Victor Rosa (Leguizamo) is a drug dealer in New York who sells a specific brand of heroin called "Empire". His area, or "turf", is located in the South Bronx, where his other rivals all maintain an uneasy truce. They generally respect each other's borders and sanctity. All of this is maintained because it just so happens that they all purchase their drugs from the same supplier, the drug lord La Colombiana.
Community college professor Ira Kane (David Duchovny) is invited by geology teacher/girls' volleyball coach Harry Block (Orlando Jones) to investigate a meteor that has crashed into a network of underground caverns under the sleepy Arizona town of Glen Canyon. They collect a sample and find that it contains extraterrestrial single-celled nitrogen-based organisms, which evolve into multi-celled organisms by the time Ira gets Harry to his office to see the discovery they made.
The film takes place in a 1950s-esque alternate universe where radiation from space has turned the dead into zombies. This resulted in the "Zombie Wars", where humanity battled zombies to prevent a zombie apocalypse, with humanity the ultimate victor. The radiation still plagues humanity, as all those who die after the original contamination turn into the undead, unless the dead body is disposed of by decapitation or cremation. In order to continue living normal lives, communities are fenced with the help of a governing corporation named Zomcon. Zomcon provides collars with accompanying remote controls to control the zombies' hunger for flesh so as to use them as slaves or servants.
A community of mutant outcasts of varying types and abilities attempts to escape the attentions of a psychotic serial killer and redneck vigilantes with the help of a brooding young man who discovers them. Based on the novel Cabal by Clive Barker.