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Emilie de Ravin does a little "moonlighting" with Cybill Shepherd in this 2009 made-for-TV movie. The Lifetime production of Nora Roberts' High Noon was shot while the actress was also playing Claire on ABC-TV's "Lost."
Aside from the hair color (Roberts' heroine was a redhead), de Ravin makes a believable Lt. Phoebe McNamara, and this TV movie stays pretty close to the 2007 novel, from what I can tell. But there are a few unintended puzzlers. I'm no cop, but I easily believed that the soft-edged McNamara could sweet-talk jumpers off ledges and convince hostage-takers to come out and have a little chat with her. Heck, I would. It made less sense to me that a specialty officer and fringe player like this would also be in charge of disciplining uniformed officers. Isn't that what cranky, no-nonsense, "I'll have your ass for breakfast" types are for?
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Max, a deaf rebel who has managed to stay under the radar, fights for his life daily as he slaughters these transformed humans with pretty effective grace. “Biosys” are humans who have been altered and engineered by scientists to soldier where designated. One of the biossys strays away from his team after realizing the influence that was inflicted upon him only to question his being and his place in this world. He seeks out Max who he believes contains the blood to antidotize the serum and cure the savage race. Along the way they also team up with 2 others who are lost as they are. Their mission is to all find this force known as the Resistance.
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Flightplan is the latest motion picture to take an intriguing premise and flush it into the septic tank. Despite the participation of selective, talented actress Jodie Foster and a screenplay that borrows heavily from The Lady Vanishes, Flightplan can't avoid falling apart during its final half-hour. Instead of an intelligent, inventive finale, we are stuck with the same approach employed by every half-baked thriller. The absurd conclusion would be laughable if it wasn't such a disappointment. And anyone mentioning the words "surprise twist" in association with this film is betraying an ignorance of the conventions of the genre.
Rarely has the question "What the hell?" been more appropriate. An uneven amalgamation of the brilliant and the preposterous, Constantine left me by turns intrigued, confused, and wary. The recipe calls for some ingredients that are compelling, others that are audacious, and others that are downright maddening. With a bold, dynamic visual style that fuses film noir elements with traditional horror motifs, Constantine can be considered many things, but dull is not amongst them. This is not a timid film, yet it's not an entirely successful one, either.
Princess and the Warrior
German filmmaker Tom Tykwer first gained a measure of international recognition in 1997, when his second feature, Winter Sleepers received attention outside of his native Germany. Then came the 1998 Toronto Film Festival and the debut of Run Lola Run, which became one of the hottest and most talked about properties in Toronto that year. 1999 saw Lola reach U.S. art house screens, where it attracted huge audiences (by art house standards, that is) and became an immediate favorite of the under-40 crowd. Now, with expectations set unreasonably high, comes Tykwer's follow-up to Lola -- and, incredibly, the director meets those expectations.
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Upon reflection, it's not difficult to understand why The Reaping languished for so long on the shelves of Warner Brothers before being dumped into distribution. (Those with long memories may recall trailers for this movie popping up about a year ago.) The film, despite attempts at edit-room reparation, is virtually unreleasable. For about 50 minutes, it's reasonably coherent and offers a few interesting ideas and characters, then it all implodes in a rather spectacular fashion. When it's all done, no one - not the filmmakers, the characters, or the audience - can make sense of the debris, nor is it worth the effort to try. When it comes to the storyline, God only knows.
As "survival in the wilderness" films go, The Edge is a strange example. Leaving the theater, I didn't quite know what to make of it. In fact, I'll even admit to enjoying it on a certain level. I laughed frequently, but the problem is that I'm not sure the director intended there to be as much humor in his film as I uncovered. It's also worth noting that from time-to-time, the movie manages to achieve a certain level of tension, although it's far from the "white knuckle" variety. Overall, however, the picture really didn't work for me, except as an example of big-budget campiness.
Prelude to a Kiss
Prelude to a Kiss convinced me that Meg Ryan possesses the acting chops to be in more than light romantic fare - a distinction that her best-known movie at the time (When Harry Met Sally) had not claimed. In fact, her performance in this 1992 production revealed a hitherto unsuspected wellspring of talent that would subsequently be displayed in the likes of When a Man Loves a Woman, Courage Under Fire, and Hurlyburly. Today, Ryan is so well recognized for her participation in romantic comedies that it's easy to forget she's capable of much more, and it was in Prelude to a Kiss where she first evidenced this. (Some would argue for DOA, The Presidio, or The Doors, but I was underwhelmed by her work in each.) Ryan's leading man on this occasion is neither Billy Crystal nor Tom Hanks, but Alec Baldwin - the most accomplished of the Baldwin brothers. Playing a sort of nerdish yuppie, he is very much equal to the task facing him: furnish our entry point into a story that is both deceptively complex and surprisingly simple. Sympathetic and likeable, Baldwin's character becomes our surrogate in director Norman René's slightly off-kilter universe.
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In the Company of Men
In the Company of Men is one of those rarest of rare breeds -- a movie that doesn't just ignore Hollywood conventions, but openly flouts them. The film, which premiered to great critical acclaim at 1997's Sundance Film Festival, initially had trouble obtaining a U.S. distributor (for the record, Sony picked it up). The reason is simple: because of its brutally-direct depiction of certain aspects of the current North American social climate, In the Company of Men is anything but entertaining. It's virtually impossible to sit through this film without suffering bouts of intense discomfort, and therein lies its power.
The picture begins as something much different than what it concludes as, and the metamorphosis occurs so gradually that it only becomes apparent in retrospect. Shortly after In the Company of Men opens, the intent appears to be to center on the conflict between the sexes. Ultimately, however, this only a small piece of the much larger pie into which Neil LaBute's directorial debut slices. In the Company of Men widens its focus to encompass the falseness and gamesmanship that underlies many aspects of everyday human interaction. It's a cynical perspective that's all the more disturbing because it's grounded so deeply in reality. The characters here aren't cardboard cut-out stereotypes -- they're the kind of people you can find anywhere inside or outside of the workplace.
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In this humorous Western, Aussie Paul Hogan plays a cowboy running from the law. Lightning Jack Kane is a member of the notorious Younger Brother gang. He is the only member to survive their last shoot-out. Fortunately, he was only a minor member of the gang and escapes notice. Jack decides to rob a bank.
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Chad (Elliot Olson) is snowboarding down a mountain, when suddenly someone dressed in all black on Ski's attacks him. Chad attempts to get away, but is decapitated by a piece of wire strung up between two trees.
Eye of the Beholder
A nameless private eye shadows the same woman (who happens to be a serial killer of men) all over the U.S. for 10 + years, without her ever knowing and he strangely enough occasionally acts as her guardian angel.
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The Sloans young son Daniel has been in coma for an extended period of time following a car accident. Hannah, who was driving at the time of the accident, is suffering a great deal of guilt and depression. Shortly after moving into a newly purchased farmhouse, strange occurrences begin to happen. Hannahs husband, Graham, concerned with the increasing quantity of anti-depressants Hannah is taking, along with her stories of mysterious incidents at the house, turns to Ted and Linda, the older couple next door for support. Even though they may seem like friendly neighbours eager to help, sinister motives lie behind their pleasant demeanor.
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A conflict develops between a troubled Vietnam veteran and the sister he lives with when she becomes involved romantically with the army buddy who reminds him of the tragic battle they both survived.!!!!! Russian is the default audio so you will have to switch to english
Taken aback by his mothers wedding announcement, a young man returns home in an effort to stop her from marrying his old high school gym teacher, a man who made high school hell for generations of students.
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A woman secretly witnesses the murder of her blind date for the evening by a top Mafia boss. She immediately goes into hiding without informing the authorities. When they finally catch up with her, she is unwilling to testify to what she has seen, but the Mafia are on her trail. Accompanied by a deputy district attorney, the woman boards a train travelling through a remote part of Canada. The Mafia know him but they have never seen her.
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