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Based on the Pulitzer Prize-winning play by David Lindsay-Abaire (who also scripted), Rabbit Hole is a moving drama about a couple struggling to cope with the death of their child.
It's been less than a year since Becca (Nicole Kidman) and Howie Corbett's (Aaron Eckhart) four-year-old son was struck by a car and died. Becca is coiled with anger and bitterness over her son's death, and is effectively trying to remove memories of him from around their home even as Howie clings to visceral reminders such as videos and drawings.
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“Robodoc” the name itself reveals the plot behind the movie. The movie is all about a robot which is a doctor with a human finish on the outside. This movie is a satire on the doctors and the medicine field else what could be said of a movie that is so insane, has its share of vulgar acts and not to mention few semi-nude scenes. The movie begins with a sleazy lawyer Attorney Jake Gorman (Kenny Babel) whose only job and motive is to sue the medical fraternity and the doctors in particular. The main hospital affected by Jake’s actions is the North Mercy hospital where the doctors keep leaving after cases of negligence gets filed on them.
A serial killer thriller about a woman, the daughter of a slain magician's assistant, setting about to learn the truth behind her mother's death and encountering a Las Vegas illusionist who may be a cunning serial killer. Sounds simple enough, so why is it such a mess? Scenes that serve no purpose, subplots that go nowhere, an unfocused script boasting some of the flattest dialogue this side of Dragon Wars. Good actors relegated to nothing roles while very bad no-name actors get the meatier parts. The most elaborate scene of action being a foot chase between two middle-aged men huffing and puffing along the second floor of a motel balcony. Either Magic Man was one of those productions where things went horribly awry somewhere along the way or there was just so much behind-the-scenes ineptitude that the movie was doomed from the outset.
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There is a lot of jittery cigarette smoking and sloshed-down booze in “Revolutionary Road,” a waxworks edition of the corrosive, furiously unsentimental novel by Richard Yates about an unhappy marriage. Set in the lonely-crowd milieu of 1955, though published in 1961, the novel tracks the unraveling of Frank and April Wheeler, a handsome young couple who have been trying and failing to keep disappointment at bay by pretending that, despite their suburban address — despite a life calibrated to the commuter rail schedule, their two small children, well-stocked bar and picture window that looks over a front lawn as manicured as a cemetery — they are not like everyone else.
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Made of Honor
In this year’s summer preview edition of Entertainment Weekly, Made of Honor producer Neal Moritz all but admits his movie is little more than a rehash of other successful romantic comedies. He says, “we couldn’t do My Best Friend’s Wedding again, but we could do the reverse of it.” Unfortunately, they haven’t even done that much to differentiate it from the dozens of other similar movies we’ve all seen. Sure they’ve cast a guy in the role Julia Roberts played back in 1997, but he’s barely a guy, and at times the script treats him as if he’s a woman. Meanwhile it’s 2008 and Made of Honor feels like it’s still stuck there, back in good old 1997.
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District 9 is that modern rarity: an adventure thriller that’s even better than its advertising campaign. For years now, ever since the Alive in Joburg short on which it’s based was released, there has been lots of industry chatter about director Neill Blomkamp’s fantastic premise for an ultra-modern science fiction film; so much so that Peter Jackson of Lord of the Rings fame signed on to produce it in lieu of his adaptation of the Halo videogame.
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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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Puccini for Beginners
Puccini for Beginners has a lot less to do with opera than it has to do with a sit-com view of life in the Big City. Not that the approach is inherently bad, and director Maria Maggenti has fashioned a reasonably entertaining movie that borrows heavily from Woody Allen, Sex in the City, and Seinfeld. Her view of New York is that of a big neighborhood where there are no crowds, the sidewalks are clean, and people talk to one another. Maggenti, like Allen, has done for New York what so many directors have done for Paris. (And she actually filmed in New York, not in some other city made up to look like it.)
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Any Given Sunday
It is well known that superlative film editing can save a mediocre motion picture. Sadly, the opposite can also be true. A case in point is Any Given Sunday, which, despite a potentially engaging story and a number of good performances, is at times unwatchable. The reason is simple: during post-production, director Oliver Stone frequently dipped into his bag of cinematic tricks to pull out quick cuts, slo-mo sequences, fades to black-and-white, and about a dozen other gimmicks. The film is restless to the point of distraction, and the audio is so pumped up that about a third of the dialogue is unintelligible.
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From time immemorial, the experience of eating a good meal has been regarded as one of life's most hedonistic pleasures. In a recent survey, more than 50% of Americans indicated they would rather eat a memorable dinner than experience a night of uninhibited sex. Motion pictures, ever reflective of the cultures that spawn them, have always recognized the potential for food-related stories. Films like Babette's Feast and Eat Drink Man Woman have sent audiences home sated. Now, there's a new entry on the menu: Big Night, the directorial debut of actors Stanley Tucci and Campbell Scott. And, while perhaps not as sumptuous as the previously-mentioned entrees, it's nevertheless a tasty main course.
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Supernatural villain Pinhead finds himself on the wrong side of the law in this, the fifth film in the Hellraiser franchise. Joseph (Craig Sheffer) is a detective with the LAPD who one morning discovers he's no longer living in California -- he's been exiled to Hades, and the only way to escape is by solving the mystery of the all-powerful puzzle box.
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A motley crew of Australian militiamen or 'chocos' from the 39th Battalion are stationed in a New Guinea village just after the Japanese invasion. The 39th Battalion are the only troops available to hold off the Japanese advance until the AIF arrives to relieve them. The story centres on an infantry section of the 39th Battalion. The section with their platoon commander, an AIF lieutenant (Ben Barrack) who has served in North Africa, is on forward patrol when they are attacked by a Japanese force. The lieutenant is killed early in the battle and the section, led only by a recently-promoted lance-corporal, Max (Simon Stone), decide to fall back. One of the men, L/Cpl Wilstead (Ewen Leslie), is bayoneted in the face by a Japanese soldier, and a Bren gunner called Blue (Christopher Baker) offers to stay and provide cover. However, the remaining men are cut off and surrounded in the dense jungle, with little hope of escaping. The Australians try to remain hidden until nightfall, when Darko (Travis McMahon) and Jack (Jack Finsterer) decide to go and find out where Blue is. They stumble across Blue, who is tied up and being tortured by Japanese soldiers. Darko and Jack look on helplessly as the Japanese soldiers bayonet him in the stomach and groin, and finally decapitate him with a sword. They return to their hiding place, shaken by what they have seen. The Japanese ambush the section and they run further into the jungle. Caught behind enemy lines in harsh terrain, Jack, to whom the others (including his brother, Max, have deferred) tries to maintain command of a small group of men. Suffering from malaria and dysentery, the remaining six men decide to make their way to Isurava, where the remainder of the 39th are fighting a desperate battle.
Crime and Punishment
In modern day post-Soviet Moscow Raskolnikov acts out the arrogant theory that he can neglect all laws and proceeds to murder a woman. But he is unable to extinguish the victim from his mind and is plagued by his ceaseless rationalization of his decision.
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For burned-out Seattle cop Daniel Pruitt, a camping trip turns hellish when his wife, Jessica, is savagely attacked in the forest. En route to the hospital, the Pruitts collide with a semi, and Jessica identifies the driver as her assailant. Enraged, Pruitt pummels the man. Once at the ER, however, she changes her mind and names a male nurse as her attacker. But before Pruitt can make amends, he learns that his victim, the son of Sheriff Morgan McKenna, is dead.
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The Last Kiss
Michael and his live-in girlfriend Jenna appear to be enjoying the perfect relationship: Jenna is pregnant prior to the opening of the film and her parents are pressuring the pair to get married. Jenna claims that Michael's work pressures and her own dissertation rendered it an inopportune time for marriage. The real
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What happens when the hardest team in the Sunday Soccer league comes up against a gay team (pun intended) and finds theyve finally met their match? Watch and wince as fledging referee Elton Glixton struggles to control this testosterone tsunami as rude-boy meets bum-boy in this outrageous new comedy set in the crazy gung-ho world of 5-a-side footie.