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Kickin' It Old Skool
I hope Jamie Kennedy has a huge fan base because I can't see anyone else paying hard-earned money to sit through this. Perhaps my expectations are too high, but when I go to see something billed as a "comedy," I don't expect to have to wait until the final caption before the closing credits for there to be something worth even a feeble laugh. It's not that the art of making movie comedies is dead - the recent Hot Fuzz and the upcoming Knocked Up are proof of that - but that filmmakers have become lazy and contemptuous of their audiences. There's a belief that viewers will laugh at anything because it's supposed to be funny, regardless of whether or not it actually is. Kickin' It Old Skool is the latest of these movies. The ineptitude of the movie's drama is matched only by the failure of its humor.
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What Planet Are You From?
Ever had the feeling that you're not getting the whole story? That's what it's like to watch What Planet Are You From?, which suffers from the kind of editing job that indicates a cluttered cutting room floor. The product that survived appears to be held together with glue and staples - significant chunks of the plot have been excised, characters come and go with little rhyme or reason, and subplots vanish into thin air. Making sense of this movie is a feat that requires a nimble mind and a fertile imagination.
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Autumn in New York
When MGM elected not to screen Autumn In New York for film critics, the decision touched off a minor controversy. First, stars Richard Gere and Winona Ryder spoke out publicly against this move, claiming it was an insult to the integrity of their film (director Joan Chen wisely declined to comment). The MGM execs countered with the disingenuous claim that the decision had nothing to do with their opinion of the movie's quality; they didn't want critics revealing the "surprise ending" (for the record, there is nothing surprising about the ending). In reality, the distributor was trying to avoid making an open declaration of "no confidence." However, while Autumn In New York is nothing more or less ambitious than a two hanky melodrama, it's not nearly as bad as it could have been.
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During the latter years of the 20th century, no sports figure was more compelling and controversial than Mike Tyson, who scaled the heights of unifying boxing's heavyweight championships and descended into the hell of scandal and crime. With Tyson, director James Toback has provided a forum in which Tyson can tell his story. Undoubtedly, some of what is presented in this documentary has been sanitized to improve Tyson's reputation, but the film's subject is surprisingly thoughtful and speaks frankly about his womanizing, alcohol and drug addiction, bouts of mental instability, and criminal activity.
Hats off to 20th Century Fox. Through a marketing campaign which can be considered nothing less than astonishing, the studio has managed to convert Ice Age from an adequate (but hardly superlative) example of family entertainment into one of 2002's handful of must-see movies. Put this one alongside Star Wars, Episode II, the 20th James Bond film, Harry Potter and the Chamber of Secrets, and The Two Towers on the list of movies that seemingly everyone is aware of. The reason is simple: a computer-generated squirrel who has a hard time hiding his acorn.
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The Adjuster starts out with a relatively normal premise, but that's the only thing about this film that can be classified as "normal". Director Atom Egoyan is not a traditional director, and his aim is not to satisfy mainstream audiences. Unfortunately, in this case, there are too many occasions during the course of this movie when situations become too self-consciously "artsy."
Few screen romances are as touching, as tragic, and as life affirming as the one shared by Nick (Robert Carlyle) and Karen (Juliet Aubrey) in director Michael Winterbottom's Go Now. While the film is ultimately about the effects of multiple sclerosis upon both a body and a relationship, Go Now is not the exercise in depression the material might make it seem to be. Winterbottom, who took an equally unsentimental approach to his adaptation of Thomas Hardy's Jude the Obscure, avoids numerous melodramatic pitfalls on the way to making Nick and Karen's experiences with the disease real, believable, and manipulation-free. By including a copious amount of lowbrow humor and occasionally using black-and-white freeze-frames with amusing captions, Winterbottom never allows Go Now to become too much of a downer.
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The teaming of Samuel L. Jackson and Kevin Spacey, two of the most highly regarded actors around, in perfectly fitting roles that call for a battle of wits and wills, proves to be a shrewd piece of casting, and the best element of "The Negotiator." Inspired by a real case involving the St. Louis police, this action thriller gives the familiar premise of a falsely accused man, who's forced to violate the law in order to prove his innocence, enough twists and turns to make it an engaging experience, though pic is slightly impaired by an overlong, overbaked production. Warners should expect midrange numbers for an entertaining suspenser whose serious issues are likely to appeal to audiences tired of mindless summer fare, though pic may suffer from too much competition in the crowded marketplace.
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One of the best of the latter is Gore Verbinski’s “Mouse Hunt,” starring Nathan Lane and Lee Evans as two brothers who try to remove a crafty mouse from their newly inherited house. You may not know Verbinski, but you’re probably familiar with his work. He’s the guy who directed the first Budweiser frog commercial. Verbinski has a unique style, which translates well on the big screen.
Palo Pinto Gold
"Palo Pinto Gold" follows the old-fashioned traditions of western movies when bad guys wore black hats and scowled while good guys wore white hats and looked stern even when they smiled. True to form, the movie reminds us that gunfire was always more meaningful than dialogue in movie westerns. The storyline is reminiscent of western movie classics (one of the characters is even named "Shane"), and the dialogue is short and sweet so it doesn't distract anyone from hearing about the historic gunfight a reporter asks about.
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Hood of Horror
The animated introduction revolves around how Devon (voiced by Snoop Dogg) becomes a Hound Of Hell, in which he agreed to sell his soul to a demon named Liore (voiced by Hawthorne James) to bring back his dead sister (whom he may have accidentally killed). Liore grants him knowledge, strength, and the power to decide who goes to heaven or hell for an unspecified period of time. The animation is switched out showing Devon as a real person, as he narrates the stories.
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How to Kill Your Neighbor's Dog
Shy, chain-smoking, insomniac Peter McGowan is an L.A. playwright with a string of hits that preceded his current ten years of failed productions. His mother-in-law is sinking into senility, a stranger is meandering the neighborhood claiming to be him, neighbors have a new dog that barks all night his wife wants to have a child, and he does not hes become impotent. Hes working on a new play when a single mom moves in next door with her 8-year-old daughter. His wife immediately invites the girl into the McGowan household. Will this child stir Peters paternal feelings? Will she also help him get his dialogue right? And what of his doppelganger and the neighbors dog?
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Jason Ritter plays a video store clerk who works persistently to draw out a reclusive woman, played by Marianna Palka who often comes to the video store where he works and rents soft-core porn. Eventually, despite his strong optimism, her dislike of sex and resulting defensiveness drives them apart. It is revealed toward the end of the film that her dislike of both sex and relationships was fueled by sexual abuse at the hands of her father. It is implied throughout the film that this began early in her life, and continued into her adolescence. This abuse and most likely its large amounts of evidence are what causes her father to take care of all her needs such as her apartment, food, and other expenses. The film ends with a confrontation with her father, and ultimately Ritter's character reuniting with her, implying that she is prepared to be in a relationship with him.
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Josh Pollack, a naive and ambitious reporter, is convinced the F.R.A.T., an elite force within the Edison Police Department, is corrupted. Working on a homicide case, he begins to unearth evidence which suggests that the entire justice system is willingly turning a blind eye to the abuses of the this force. When his life and that of his girlfriend are threatened from his research, he join forces with his editor, a once-famous reporter, and a renown private detective to bring down the F.R.A.T. and every one behind it.
L.A.P.D.: To Protect and to Serve
Exploding from todays news headlines L.A.P.D. is a story of the largest police department in the world. Captain Ellsworth (Dennis Hopper) barely manages to contain his rage after a new officer Steele (Marc Singer) disobeys orders to wait for SWAT backup and turns a bank robbery into a deadly shootout. Shortly after Steele catches Lt. Alexander (Michael Madsen) and his gang of dirty cops robbing a warehouse. Steele decides to look the other way and accept a payoff. His decision escalates into a maelstrom of corruption debauchery and murder as he falls inside the dark underworld of crime and conspiracy in the ranks of the L.A.P.D.
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Men in Black II
Kay and Jay are back in black as the scum-fighting super-agents - regulators of all things alien on planet Earth. Their latest mission to save the world from a total intergalactic disaster! When a renegade Kylothian monster disguised as a lingerie model threatens the survival of the human race, the boys of the MIB get the call to step up and get busy. With their headquarters under siege and time running out, Agents Kay and Jay enlist the help of Frank the Pug and a posse of hard-living worms to help them kick some seriously sexy alien butt!
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