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P.S. I Love You
It would be easy to dismiss “P.S. I Love You,” about the agonies visited on a young married couple, as the big-screen equivalent of a paperback romance. Certainly the refined critical mind understands that this is the kind of artful emotion machine that the movies have been making since the very first tear slid down an actress’s face, the droplet seen — and experienced — around the world by audiences who answered that bead of dew with a grateful flood of their own. Cry us a river, Mary Pickford!
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Killer of Sheep
Charles Burnett's Killer of Sheep (1977) has perhaps been more written about and appreciated than actually seen. By now there's no question that it belongs in the canon of greatest American movies. And now that the problem of song rights has been resolved, people can finally see it. Burnett had included a selection of music in the film ranging from Dinah Washington to Paul Robeson, without securing the rights. Thirty years later, all of these issues have been cleared up and UCLA has struck a new, 35mm print to be officially released in U.S. theaters for the first time. (The distributor, Milestone, will follow with a DVD release of this and other rare Burnett films.)
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Get Smart becomes the latest in a long line of TV series to get a big-screen treatment. While we have come to expect recycled refuse from most of these (Bewitched perhaps occupying the nadir), Get Smart manages to rise above the continuum of regurgitation by walking a tightrope that allows it to appeal to those who have fond memories of the late-1960s spy spoof and those who don't know Don Adams from John Adams. Get Smart is delightfully silly and at times very funny. The characters are likeable and feel connected to their TV counterparts. And, although Mel Brooks and Buck Henry (creators of the original) are not directly involved, the filmmakers have crafted something that both men would likely agree is in the spirit of what they shepherded to the small screen.
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Five minutes into The Wedding Planner, I suspected the film was in trouble. Ten minutes later, I knew it was in trouble. There's only one thing that can sink a movie so fast - bad writing. Even excruciating acting takes longer. Romantic comedies shouldn't be difficult to make, since all but the very best of them follow a tried-and-true formula. All that is required is to get a pair of likable, attractive leads and plop them down in the midst of a narrative that allows them to generate some romantic friction before being split apart by complications then brought back together at the end. Yet, despite having a clear roadmap to use for navigation, director Adam Shankman and his co-conspirators, screenwriters Pamela Falk & Michael Ellis, manage to screw things up. The end result is occasionally so inept and embarrassing that it's almost physically painful to sit through.
On the surface, the selection of actress/singer Jennifer Lopez and one-time heartthrob Matthew McConaughey seems to be good casting. In the past, both have had some success with romantic pairings (Lopez opposite George Clooney in the steamy thriller Out of Sight and McConaughey opposite Jenna Elfman in EdTV), so it's reasonable to expect them to strike a few sparks. Unfortunately, although Lopez is competent, McConaughey looks lost. A city slicker with two sticks would have a better chance of generating heat than these two. The chemistry so crucial to the success of any screen romance is absent. But the central flaw isn't the actors, or even the film's generic premise - it's the script. The Wedding Planner is a perfect example of what happens when the appeal of the two leads cannot overcome the obstacle presented by an irredeemably stupid screenplay.
Mary Fiore (Lopez) is one of the best wedding planners in the state of California. Whenever anyone needs to arrange a lavish wedding, they come to her. Despite her profession, however, she leads an unromantic life, using the motto, "those who can't wed, plan". Things change for her one afternoon when she is saved from being stuck by a runaway garbage dumpster by a handsome doctor named Steve Edison (McConaughey). The two spend a romantic evening together and Mary thinks she may have found Mr. Right - until Steve turns out to be the fiancé of her latest client, Fran Donolly (Bridgette Wilson-Sampras). But, as the planning of the wedding becomes more involved, Mary and Steve's attraction represents a growing impediment.
When I watch a romantic comedy, I do not demand a great deal in the way of originality or inventiveness. This is, after all, a highly derivative genre in which the unexpected is often frowned upon. Romantic tension, not narrative tension, should be the director's goal. However, I do require that the primary characteristics of the characters not be evidence of frontal lobotomies. Throughout The Wedding Planner, people consistently do and say stupid things. It's an epidemic, and no one is spared the ruthless butchering of the screenwriters' witless pens. So Jennifer Lopez gets to crawl around on her knees to avoid an old flame and Matthew McConaughey if offered the opportunity to see what it's like to have a statue's stone genitals crazy glued to his hand. Can comedy get any funnier than that? Meanwhile, the dialogue features more platitudes than can be found in a rack of Hallmark greeting cards. When characters are this dumb, it's impossible to care about their fates; consequently, we have no investment in Mary and Steve's eventual and inevitable union.
Typically, no matter how uninspired a romantic comedy may be, it has the capacity to generate a moment's bliss when the two lovers finally set aside their differences and come together. Not here, though. The Wedding Planner can't even offer such a basic payoff, and that makes the chore of watching it completely thankless. Even the superficial pleasure of gazing at Lopez and McConaughey can't justify this film's existence.
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The desire for familiarity in movies can lead to sequels and re-makes, but that doesn't always have to be the case. It can also mean the use of storyline everyone sitting in the theater knows. A Good Year is a respectable retelling of the "back to nature" narrative, in which a selfish individual becomes seduced and saved by a pastoral setting and a pretty woman who lives there. Sound familiar? Although there's nothing surprising in Ridley Scott's version, gorgeous photography and strong acting keep the formula from becoming stale. For those who don't mind pictures that fall into predictable rhythms, A Good Year represents a pleasant diversion.
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The Good German, Steven Soderbergh's film noir homage, is nearly perfect when it comes to style and tone, but it concentrates so single-mindedly on the mechanics of the narrative that it loses sight of its characters. The movie meticulously steps viewers through the Byzantine passageways of its plot while not taking the time to develop protagonists an audience can care about. In the end, while George Clooney and Cate Blanchett may look great, they aren't given more than shells to inhabit. The Good German is at times involving in the same way that any noir film is involving, but it often feels overplotted and the experience of watching it can be exhausting.
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My Favorite Season
Despite having taken three years to make the trip across the Atlantic, Andre Techine's My Favorite Season is surely one of the best films of the summer, if not the year. After its release in France, My Favorite Season was unable to acquire an American distributor; however, following the modest art-house success of the director's subsequent effort, Wild Reeds, the door was opened for the movie's U.S. showing. For those who enjoy rich, complex character dramas, the arrival of My Favorite Season is a cause for celebration.
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In the Name of the Father
Sometimes it's only through the greatest of tragedies and the gravest of injustices that human beings learn to relate to each other honestly and openly. Nowhere is this more apparent than in Jim Sheridan's searing In the Name of the Father, where father and son come to an intimate understanding of each other through shared sufferings.
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Born to Defend
Jet, a young soldier at the end of the second world war must overcome some abusive Americans who are bullying him as well as the Chinese people.
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World of the Dead: The Zombie Diaries
Zombies can’t keep diaries, but if they did they’d be pretty repetitive, something Kevin Gates and Michael Bartlett’s ambitious sequel to their 2006 DV horror could also be accused of.
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The Parallax View
Joe Frady is a determined reporter who often needs to defend his work from colleagues. After the assassination of a prominent U.S. senator, Frady begins to notice that reporters present during the assassination are dying mysteriously. After getting more involved in the case, Frady begins to realize that the assassination was part of a conspiracy somehow involving the Parallax Corporation, an enigmatic training institute. He then decides to enroll for the Parallax training himself to discover the truth.
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It is a couple of years in the future... The highways of Australia are ruled by violent gangs who have turned the highways into a battleground as they loot gasoline and terrorize the innocent. Max Rockatansky is a policeman who had everything... Until, a murderous motorcycle gang led by the evil Toecutter burns his partner Jim Goose to death and murders his wife and son, after Max killed their leader The Knight Rider. Loosing his rocker, Max decides to take the law into his own hands as he sets out to get his revenge on the motorcycle gang and become the road warrior known as Mad Max.
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Jack the Ripper
During the latter half of 1888 a notorious serial killer nicknamed Jack The Ripper terrorises the East End of London by murdering prostitutes in a terribly violent way. Public outrage follows. Inspector Frederick Abberline is assigned to the case but finds that it is not just a simple murder enquiry. Based on a real life event, this film claims to have had access to top secret Home Office files and believe that their ending is the correct solution to the age old mystery.
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King of the Avenue
Theres no right way to do wrong.
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Mockingbird Don't Sing
On November 4, 1970 on The CBS Evening News, Walter Cronkite reported on a true, horrific story that was about to rock the country. A 13-year-old girl was discovered in the small Los Angeles suburb of Arcadia who was still in diapers, barely able to walk and unable to speak. Kept in severe isolation by her parents with virtually no human contact for more than 10 years, she was confined to her bedroom, tied to her potty-chair and left to fend for herself. As Cronkite noted, it was one of the most horrendous cases of child abuse ever to surface. Much like an animal, the girl spat, sniffed and clawed. She had none of the traits or characteristics of conventional human behavior, nor could she comprehend such modern societal conveniences as silverware or bathroom etiquette. Her emotional development was practically non-existent, and she could not speak. With this heartbreaking story, the world was being introduced to a fragile, beautiful teenager who seemed and behaved like an infant, or Wild Child.
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Although a one-time MVP for the New York Yankees, Jack Elliott is now on the down side of his baseball career. His batting average is low and one of his few claims to fame is that during the previous year, he led the team in 9th inning doubles in the month of August. With an up and coming slugger ready to replace him, he learns that hes been traded to the Chunichi Dragons of the Japanese Central baseball league. Elliott is set in his ways and quite inflexible, not only in accepting Japanese culture in general, but also with the way the baseball team is managed. When he meets his very pretty PR agent, Aya Takahashi, he begins to gain a greater appreciation that he should accept his current situation. When he realizes her other connection to the team, his attitudes begin to change at an even greater pace
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