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Writer-director Scott Cooper's Crazy Heart follows Bad Blake (Jeff Bridges), a grizzled country singer pushing 60 who is climbing further and further into a bottle and farther away from the spotlight he once basked in as a country music outlaw in the vein of Kris Kristofferson, Merle Haggard, Willie Nelson, Hank Williams Jr. and Waylon Jennings. Bad has endured busted marriages, bouts with booze, has an adult son he doesn't even know, and a protegee, Tommy Sweet (Colin Farrell), who has achieved a level of mainstream success that Bad never did.
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If there's a sub-genre of horror in desperate need of either rapid retirement or significant reinvention, it's the "honeymooners in trouble" genre. I'm certain that at some point in cinematic history, the concept of putting two newlyweds into distress seemed like a clever way to write about the arc of a typical marriage compressed into a single experience. That said, after countless films, it's safe to say that we get the metaphor, so please, filmmakers, for the love of God, stop forcing us to watch the same pattern of a couple in love, embarking on an adventure, making a stupid decision, fighting, forgiving, coming closer together, making more stupid decisions, resigning themselves to death and then, finally, dying. It's a long way to go for too few thrills and only surface-level character development.
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I'll admit it – I was shaken. Generally, I view most horror films these days with a certain clinical detachment that comes with an overdose of gore and a clockwork metering of shock-tactic thrills – most of them recycled and clichéd. Suspense is often forgone for easy scares at the expense of a jumpy audience. Not so with Paranormal Activity – or not entirely, at the very least.
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Diary of the Dead
Last night in Toronto a few hundred lucky film-goers got to experience something phenomenal. While people lined Yonge street to catch a glimpse of “Brangelina” down at the Elgin, an eclectic mix of film fans lined the streets around Ryerson University to experience something truly fantastical – the World Premiere of George A. Romero’s “Diary of the Dead”.
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I'm trying to muster up some enthusiasm for Disney's latest animated film, Bolt. It's cute. It has funny pigeons. My eight-year-old niece is going to like it, especially since Miley Cyrus is involved. It's the first non-Pixar Disney feature produced by John Lasseter, who directed the Toy Story movies and Cars. It's got Hollywood jokes in it, including a director voiced by James Lipton, and a comically pushy agent. And yet I never thrilled to the story or the characters; I wasn't half as amused as I'd been by Kung Fu Panda, a film for kids I saw earlier this year.
Take the Lead
I miss the decades when dancing and singing were an integral part of Hollywood’s style. Those classy, elegant days of Fred Astaire and Ginger Rogers produced some wonderfully stylish and energetic films. The best we can hope for in the present age of cinema is the occasional adapted Broadway musical but even those films somehow fail to capture the magic of the music. Take the Lead is by no means a revival of that bygone era of the song and dance film but it has the same sort of sparkle and captures some of that long lost energy.
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Drive Me Crazy
Nicole Maris is a popular high school preppy senior in Utah who gets her life turned upside down when her perfect date, Brad, falls for a cute cheerleader from another school a month before the school's centennial senior prom. After recovering from the shock, Nicole comes up with a solution to save her reputation: find a guy to appear like they're going steady and to take her to the dance hoping to make Brad jealous. Nicole then hooks up with her next door neighbor, prankster and trouble maker Chase Hammond, and tries to model him in her own image while he's looking to make his long-term girlfriend Dulcie jealous too. However, both Nicole and Chase don't expect their charade to lead it where they never expected it to.
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Analyze That delivers its share of amusing moments, but, when it comes to inventive or inspired comedy, it is lacking. The movie is funnier than a lot of what's available in multiplexes, but that's more a condemnation of the sad state of big screen humor than it is a rousing endorsement of this motion picture. There's nothing horribly wrong with Analyze That, but there's nothing remarkable about it, and, in terms of its overall enjoyability quotient, it falls short of the mark set by its predecessor, Analyze This.
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Monster-in-Law is appalling misfire of a comedy - a motion picture that takes a situation ripe for the blackest vein of satire and reduces it to a puerile and edgeless pile of goo. Forgive me for a moment if I bemoan the lost potential here. Give a project like this to Danny DeVito, whose War of the Roses existed in not dissimilar territory, and the possibilities are endless. But with Robert Luketic at the helm, the experience of viewing this movie represents a one-way ticket into tedium and a forced 90-minute imprisonment with Jennifer Lopez and Jane Fonda, both of whom give performances that can charitably be called cringe-inducing.
Robots is every bit as visually engaging as the best of the Pixar (or Dreamworks) digitally animated fare. The landscapes are stunning, the characters are intricately formed, there's plenty of break-neck action, and Robin Williams provides a helping of belly laughs. Despite these positive qualities, Robots never seems more than passably entertaining. In fact, it more often resembles the template for a video game (with the interactivity removed in theaters - no doubt that will be restored for the X-Box and PlayStation 2 discs) than a fully realized motion picture. It doesn't take long to uncover the culprit for Robots' lack of inspiration. The pedestrian plot is aimed squarely at five-year olds.
Screenwriters Lowell Ganz & Babaloo Mandel have never been known for their subtlety (even their best work - like Splash, Parenthood, and A League of Their Own -
After watching a movie like Just Friends, I hurry home from the theater and take a shower so I can wash away the stink of the experience. There are bad movies and annoying movies, and this one contains elements of both. Spending 90 minutes with these characters should earn movie-goers at least a tee-shirt proclaiming their endurance. This would-be romantic comedy is neither romantic nor comedic, and it makes for must-see viewing for anyone who wonders how a seemingly "can't miss" premise can be thoroughly wrecked.
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The Parole Officer
Simon Garden is a well-meaning but ineffectual probation officer. At the beginning of the film, he is facing a tribunal after his entire department in Blackpool submit complaints against him, Garden having only had three successes in his career. He is therefore transferred to Manchester.
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The Haunting of Molly Hartley
The film begins with a teenage girl (Jessica Lowndes) going into the woods to meet her boyfriend. He gives her an early birthday present, but her father shows up and demands that she leave with him. As they drive home she tells him that she will be marrying her boyfriend as soon as she turns eighteen. He breaks down and apologizes to her before crashing their car. Seeing that she is not dead, he kills her with a broken piece of mirror, saying he couldn't let the darkness take her. The film then switches to present day, and Molly's story.
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On the last night of the fiscal quarter, Dennis, Shenanigans manager, will be promoted to district manager if they have a 9000 day. To motivate the crew, he tells them the restaurant will close if they dont meet this goal. His competition is next door Ta-Tas, a bar with scantily clad waitresses, managed by the newly self-confident Calvin. At Ta-Tas, its Allisons first day shes nervous. At Shenanigans, Mason, a cook, is trying his best to be cool, without success. As the shift wears on, each employee faces his worst fears, and Dennis tries to learn how to attract women. Next door, Calvin and Allison make self discoveries. It all ends at the post-shift party.
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A beautiful, wealthy young party girl drops out of Radcliffe in 1965 and heads to New York to become Holly Golightly. When she meets a hungry young artist named Andy Warhol, he promises to make her the star she always wanted to be. And like a super nova she explodes on the New York scene only to find herself slowly lose grip on reality...
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Jesse Stone: Innocents Lost
Jesse, No longer Chief of the Paradise Police Force sets out on his own to solve the murder of a young girl he had helped earlier.
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