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The Green Hornet
Michel Gondry directs The Green Hornet, the long-gestating superhero action-comedy based on the classic pulp, TV and radio hero. Seth Rogen plays the title role of dissolute media heir Britt Reid, who finds his true calling after his stern father, Daily Sentinel publisher James Reid (Tom Wilkinson), dies. Partnering with a former employee of his family's estate, the enigmatic and multi-talented Kato (pop star Jay Chou), Britt and Kato don masks to fight crime as The Green Hornet and ... Kato. (His lack of a superhero sobriquet is a running joke in the movie.)
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Road of No Return
Where do I start with Road of No Return? To be honest I am very disappointed with this movie. The acting is bad, the story line could be so much better and I can't believe that I had the patience to watch Road of No Return from start to finish.
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Ace Ventura: Pet Detective
As Iíve gotten older, Iíve gone back and watched a lot of movies that I enjoyed when I was a younginí and Iíve found a couple of things to be true. Movies that I overall enjoyed (ET, FERRIS BUELLERíS DAY OFF, etc.) hold up well today and remain some of my favorite films. On the other hand, movies that I enjoyed as a kid because they sparked a particular emotion, i.e. they were scary, funny or sad, Iíve found do not hold up well over time. ACE VENTURA came out when I was in junior high and at the time, it was comedy gold. Other than maybe WAYNEíS WORLD, I canít think of a movie that I quoted more. However, a lot has changed since I first saw Ace Ventura grace the big screen and some of his antics just arenít funny anymore.
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One of the positive qualities often attributed to movies in which Judd Apatow claims involvement (here, he's listed as a producer) is that, beneath all the raunchiness and profanity, lies a core of sweetness. It's the Tootsie Pop philosophy of R-rated comedies. Bridesmaids contains many of the common characteristics of Apatow movies, as filtered through the pens of screenwriters Kristen Wiig and Annie Mumolo and the directorial stewardship of Paul Feig. However, at the center lies not a pleasurable confection but the bitterest bile. Bridesmaids is bipolar filmmaking at its most disconcerting, with changes in tone so abrupt that they can cause whiplash. In part because of this and in part because the writing is often lazy and self-indulgent, the movie rarely works. The setup is ripe for a black comedy but the movie never fully embraces the darkness and the level of humor is on par with the limp skits for which Wiig is responsible on Saturday Night Live.
When I think of director Richard Donner, my mind gravitates toward titles like Superman and Lethal Weapon - high points in the filmmaker's career. Recently, however, Donner's output has been less impressive, and includes the bloated excess of Assassins and the awfulness of Timeline. Sadly, 16 Blocks is not a film to recall the glory days. It's a cobbled together mess of clichés that fails to surprise at any of its turns. Despite occasional bursts of suspense, the movie as a whole plays out as a long 95 minutes, with its lack of inventiveness leading us more frequently into tediousness than tension.
16 Blocks is a high concept movie: a broken-down cop (Bruce Willis) is charged with taking a criminal/witness (Mos Def) on a 16 block trip through New York City, from a police lockup to a courthouse. Along the way, they become targets of dirty cops (led by David Morse) who are anxious to silence the witness. Plus, there's a time element. If the testimony doesn't happen by 10:00 am, the Grand Jury will be disbanded and the cops will be free. Once could see how this premise could result in a white-knuckle thriller. Or a bore of a retread. 16 Blocks comes closer to the latter.
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No Country for Old Men
Expecting normalcy from a Coen Brothers production is a pointless endeavor, but anticipating brilliance isn't outlandish. Their latest feature, which has about zero box office potential, provides plenty of the latter and a little of the former. Itís mostly an off-kilter road trip that accomplishes what the Coens do best - seamlessly merging drama, violence, and quirky humor into a whole. They also accomplish something many would have believed to be impossible: providing a coherent and reasonably faithful adaptation of a Cormac McCarthy novel. (Many would place McCarthy in the "unadaptable" category.) However, following their own nonstandard trail, Joel and Ethan - following McCarthy's lead - decide that just because a story is worth telling, it doesnít demand a clean ending. This is a decision that will infuriate some members of the audience. Done right, I have always believed open ended conclusions can be assets, and I think that's the case here. Nevertheless, those who openly hissed at John Sayles' Limbo or declared the finale of The Sopranos to be a tease will not be pleased by how No Country for Old Men elects to
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Deadlier Than the Male
In this 1967 drama, resourceful British agent Bulldog Drummond, who appeared onscreen in a series of spy stories between 1929 and 1951, returned to duty in the wake of James Bond.
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That Was Then... This Is Now
Emilio Estevez adapted S.E. Hinton's teen coming-of-age novel for the screen in this film adaptation directed by Christopher Cain. Estevez also takes the lead role of Mark Jennings, a troubled teenager who has been living with his best friend Byron Douglas (Craig Sheffer) and his mother (Barbara Babcock) ever since his father went to prison for murdering his mother.
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Last of the Living
A highly contagious virus is spreading throughout the land. With one bite, its only hours before victims will turn into zombies and hunt for human flesh. Morgan, Ash, and Johnny might just be the only humans left, but they dont seem to mind and find enjoyment lounging around in their underwear living in vacant homes. When they stumble upon a hot girl who just may have a cure, the three decide its finally time to step up to the plate and save the world- and the girl. Now the only hope for survival lies in their hands.
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One day in the fictional town Hillside in Southern California, the supplier of prescription medication to the students at the local high school, Troy Johnson (Josh Janowicz), commits suicide. Troy's friend Dean Stiffle (Jamie Bell), who found the body, is prescribed more antidepressants by his father Bill (William Fichtner), a psychiatrist. When Dean returns to school, he is antagonized by drug dealers Billy (Justin Chatwin) and Lee (Lou Taylor Pucci), who were supplied by Troy. Their friend, Crystal Falls (Camilla Belle), flirts with Dean, but he soon realizes that her true intentions are for Dean to retrieve the remaining drugs in Troy's home and give them to her, Billy and Lee, and he refuses to cooperate. To force Dean to procure the drugs, Billy and Lee plan to kidnap Dean's brother, Charlie (Rory Culkin), as a ransom, but they end up kidnapping Charlie Bratley (Thomas Curtis) instead of Charlie Stiffle.
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Peter Garrett (Chris O'Donnell) is a wildlife photographer and retired climber who a few years earlier caused his father to fall off a cliff face and plummet to his death in order to save his sister's and his own life (following his Dad's orders). Peter has not been able to move on and has subsequently retired from climbing and continued with his photography instead. Peter's sister Annie (Robin Tunney) has become a renowned mountain climber. Peter happens to show up at base camp as Annie attempts to climb K2 in the Pakistan province of Gilgit-Baltistan, the world's second highest mountain, which is very dangerous to climb because of the tough conditions which await at the summit. The expedition is funded by wealthy industrialist Elliot Vaughn (Bill Paxton) who is also going to climb, with the help of his friend Tom McLaren (Nicholas Lea). There is a huge party the night before the climbers begin the trek. Vaughn is introduced to Peter, who he asks to accompany them on the trip, but Peter instantly refuses.
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Don't Answer the Phone
A deeply disturbed photographer and Vietnam veteran, named Kirk Smith, terrorizes Los Angeles by going around strangling lingerie-clad young women in their homes while taunting Lindsay Gale, a young psychologist, by calling her on a radio call-in show to describe his sexual hang-ups and misogynistic ways, while a local police detective, Lt. McCable, is always two steps behind in trying to catch the psycho.
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Six priests buried a secret... now that secret has come back to haunt them. Ten years later, the Dark Christ rises, embarking on a killing rampage and wreaking vengeance upon those who have wronged him. Detective Remar (Michael Pare) is a cop with a connection from the past who relentlessly pursues the killer, while facing a nest corruption in the Catholic Church. Job, a victim of violence, carrying a twisted obsession for justice, is caught between opposing forces in this fast-paced thriller... a world of insanity, corruption, and revenge. Job is an unforgettable horror film filled with suspense that will leave you gasping for breath.
Little Man Tate
Dede is a sole parent trying to bring up her son Fred. When it is discovered that Fred is a genius, she is determined to ensure that Fred has all the opportunities that he needs, and that he is not taken advantage of by people who forget that his extremely powerful intellect is harboured in the body and emotions of a child.
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Love & Sex
When her rather explicit copy is rejected, magazine journalist Kate is asked by her editor to come up with an article on loving relationships instead, and to do so by the end of the day. This gets Kate thinking back over her own various experiences, and to wondering if she is in much of a position to write on the subject.
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In the mid-1990s, two inmates bury the burned bodies of two lifers at Mississippis infamous Parchman Farm a third old-timer relates their story. Theyd served 65 years for a murder they didnt commit, framed by a local sheriff while buying moonshine whiskey for a Manhattan club owner to whom they owed money. In flashbacks we see this odd couple thrown together (Ray is a fast-talking con man, and Claude is a serious man about to start work as a bank teller), the loss of Rays watch (sterling silver, from his daddy), the murder and trial, the hardships of Parchman, and the love-hate relationship of Claude and Ray as they spend 65 years bickering and looking for a way to escape.