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Banlieue 13 Ultimatum
It’s been three years since the events of “Banlieue 13”, and the more things change, the more they stay the same. Or gotten worst, actually. The wall that separates the slums of District 13 and the more civilized (i.e. less tattooed) populace of Paris has not been torn down as promised, and the alleyways are still choking with violent gangs, separated into different AK-toting factions. The residents of the slums have a ceasefire with the cops, but that’s about to change when a third party led by sleazy Government official Gassman (Daniel Duval) enters the picture, determined to instigate an all-out civil war designed to bring down District 13 once and for all.
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I think I could forgive the endless remaking J-horror flicks if any of them were made decently. Genre fans keep telling me how “this movie” is so good and the remake has a lot of potential. Few of them live up to that potential. Even with decent acting and an interesting, if not overdone, concept, Shutter is another remake that fails to live up to what I’ve heard about the original, and has a good chance of leaving the audience yawning throughout.
Flight of the Intruder
Flight of the Intruder is an old-fashioned, red-blooded war film, a guts n' glory actioner that looks with unwavering pride at the heroic actions of its masculine heroes. It fuses the patriotic fervor of a John Wayne war flick with a clear affection for Tony Scott's Top Gun. Particularly odd that it would apply such techniques to a movie about the Vietnam War, a conflict that has traditionally been portrayed as either horrific or extremely horrific. Coming not too long after such films as Platoon and Full Metal Jacket, the jingoistic nature of Flight of the Intruder rubbed many the wrong way. While I don't find the movie as morally reprehensible as something like Wayne's The Green Berets (for one thing, this film is far more honest about the war than that one), it certainly seems more than a bit misguided in terms of tone.
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The term "grindhouse" refers to a specific type of '60s and '70s exploitation film: the sex-and-gore soaked fare that played in run-down urban cinemas and drive-in theaters. With their consistently poor production values and often horrifically bad direction and acting, grindhouse movies developed a cult following that reveled in such guilty pleasures and accepted them for what they were. Filmmakers Robert Rodriguez and Quentin Tarantino were among the charter members of this fan club and their previous work has been informed to one degree or another by their love of these movies. With Grindhouse, a valentine to exploitation films, it's all out in the open. Depending on your point-of-view, this is either a nostalgic stroll through a cheesy slice of American pop culture or an attempt to provide a tongue-in-cheek reinvigoration of it. Most likely, it's a little of both.
If you pay attention to Hollywood's romantic comedies, the interaction between men and women is all about love and companionship. If you instead rely upon the philosophy of Closer, it's all about power. Closer starts like a nice romantic drama, with a couple of "meet cutes" (as Roger Ebert calls them), then does a 180-degree turn and shows what happens when happily ever after rots from the inside out. It isn't just the relationships that curdle, but the characters. Their interaction becomes bitter and cynical. Sex is a tool used in power struggles and one-upsmanship games. Although the word "love" is mentioned a few times, it has little place in this movie, where emotions are weaknesses to be exploited by others. With Closer, director Mike Nichols and screenwriter Patrick Marber (translating his stage play) have ventured into Neil LaBute territory (In the Company of Men, Your Friends and Neighbors). For Nichols, this is not new terrain - he has visited here twice previously, in Who's Afraid of Virginia Woolf? and Carnal Knowledge. Put those two older films together with Closer and you get a grim trilogy that doesn't have a lot of good things to say about the human condition.
The Great Raid seeks to be the kind of epic war film that was popular during the 1950s, 1960s, and 1970s. And, unlike many recent entries in the genre, it does not seek to take a revisionist look at war. The central premise is promising: a factually-based account of a 1945 combined U.S./Philippine raid into a Japanese prison camp to free American GI's. Unfortunately, although John Dahl's film may have the length one normally expects from a war film with an ambitious trajectory, it lacks focus and the pacing is uneven. The rousing success of the final 45 minutes cannot entirely counterbalance the stumbling uncertainty of the first 90 minutes.
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"Riders" is that rare thing - a bad movie that has nothing at all to recommend it. Oh sure, there are some neat (but unoriginal) stunts, and the people are cute to look at. But that's all. Really.
The film's French tagline - "Bank robbery is an extreme sport" - says where the film is coming from: it's the equivalent of that endless sports channel footage of skaters and snowboarders, but done as a heist movie. Unfortunately, it has about the same attention to character and scenario development as the sports channel footage.
There probably isn't a child alive who hasn't, at one time or another, dreamt of what it would be like to freeze time and live outside of it. Clockstoppers, the new science fiction family adventure film from director Jonathan Frakes, illustrates that some fantasies are best left in the mind. Fantasies typically ignore logic and often make no sense, and, at least in this case, that results in a suspension of disbelief curve that is too steep. I'm sure children will have no problem with this, but Clockstoppers definitely isn't for adults. When gaps in consistency and logic are small, it's possible to ignore them. But when they form the foundation of a plot, it isn't.
Off the Map
An 11-year-old girl watches her father come down with a crippling depression. Over one summer, she learns answers to several mysteries and comes to terms with love and loss.
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A shape shifter (Burke) comes from the desert in search of victims, a spirit the locals call The Dust Devil. He prays on the lonely and the unloved, those that have already lost everything but life itself. Wendy (Field) has broken up with her husband and wanders aimlessly in her car. She picks up a stranger and begins having misgivings about picking him up when strange things begin to occur. Meanwhile a local police officer (Mokae) tracks the killer. Aided by a shamans admonishments about witchcraft he sets off to try and stop the beast before it can complete its grisly task.
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It Could Happen to You
Charlie Lang, a New York cop with a heart of gold, wins a share of the lottery. However, the day before, having been caught without enough money to tip waitress (Yvonne), Charlie offers her half the winnings. Charlies wife, Muriel, is the complete opposite of her husband. She wants more and more money, and shes not impressed by Charlies honest and kind nature. As Charlie and Muriel grow apart, Charlie and Yvonne grow together.
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Amir is a heartbreaker...literally. As a relationship termination specialist, he provides dumping services for disgruntled daters and spends his days delivering the bad news to unsuspecting lovers across Los Angeles. Though Amir claims he is just the messenger, the job makes him cynical and, as a result, the last bachelor in his group of friends. This becomes clear when his recently-engaged best friends tells him he can no longer be his Best Man because of bad relationship karma. When Amir returns to his familys home for Thanksgiving, he is reunited with his long-lost cousin, Zara, who decides to hitch a ride back to LA with him. As a joke, the two cousins pretend to be a couple in front of Amirs friends and their charade comes dangerously close to going too far.
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I like to support independent films. I watched this one because Idread it wasnt bad. I was mislead. It stunk big time. The acting wasabsolutely terrible. Especially the guy that ran the video store. Thewriting was only slightly better than the acting. The director needs totake some film courses. The cinematography was poor. I would imaginethey had little or no budget for this film. I bet most of thebackground actors were friends of the film makers.
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Trust. A dead body in bracken. A cop cheats on his unhappy wife who, in secret, sees a psychiatrist whose own marriage is corroded by grief she thinks her husband is having an affair with a gay patient of hers. The cops lover, Jane, is recently separated, and her neighbors - a couple with children - include a muscular unemployed man. Late one night, the doctor skids off a back road, finds a call box, and tries in vain to reach her husband. She sees headlights and flags down the driver. Later that night, Jane sees her neighbor park his truck and throw something into the lantana in a vacant lot. Its a womans shoe. Unraveling the mystery lays bare five couples.
Lake Placid 3
Killer crocodiles and their offspring terrorize residents of a small community.
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Leaves of Grass
The lives of two identical twins, one an Ivy League philosophy professor, the other a small-time and brilliant marijuana grower, intertwine when the professor is lured back to his Oklahoma hometown for a doomed scheme against a local drug lord.
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