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Based on Cormac McCarthy's award-winning novel, The Road offers a non-stylized look at a post-apocalyptic future through the eyes of a father and son struggling to survive. With less straightforward narrative than McCarthy's last successful film adaptation, No Country for Old Men, The Road is something of a tone poem, tracing the relationship between father and son as they journey through a lifeless wasteland toward an ocean which may, or may not, hold some hope of salvation.
It's the kind of simple – almost too-simple – tale that demands a strong emotional bond between the two main characters if it's to have any hope of succeeding, and to the film's credit, actor Viggo Mortensen and newcomer Kodi Smit-McPhee play remarkably well off one another. There's a palpable feeling of desperation to Mortensen's performance and one can feel the constant drive to press forward into an uncertain future with only the vaguest of prayers that he might be able to carve out some better life for the boy. There's a feeling of uselessness that hangs around the father's neck. He keeps an emotional distance from his son, certain that he's not much longer to live and determined to toughen up the boy to live in this new and violent world. Alternately, one can clearly see the affection and sizable admiration that the boy holds for his father, pleading for a love that becomes lost in a father's duty to arm his child against a world without rules or moral boundaries.
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This is going to be a difficult to review to write. It won't be a long review. That part isn't a problem since the movie was only 75 minutes (but feels much longer). The reason this is going to be a difficult review to write is because The Seamstress was the first of five movies I viewed in a 48-hour period (four of which I'll be writing reviews of), and I'll be damned if I can barely remember much of anything about it.
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The movie's opening scenes are intended to be reminiscent of an old 8mm family movie. They are also intended to impress upon the viewer that Spencer's father and mother were good people who he cared for very much. However, it did a pretty poor job of conveying the intended message, because I failed to care what happened to the family. When the Megalodon appeared and ate the boat, I was relieved that something, no matter how poorly edited, had happened.
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It's often said that there's nothing new in Hollywood. That may well be true, but that doesn't stop writer/director Mitchell Lichtenstein from trying in his debut feature. Teeth is not only odd but it's genre-defying. The film doesn't limit its field of choice: it's a black comedy, it's a drama about teen angst, it's a romance gone bad, it's a B-grade horror film, it's an allegory about female empowerment. All this, and in less than 90 minutes. Teeth's take-chances, take-no-prisoners-approach is refreshing but there are times when things become a little too sloppy or a little too campy for the mismatched tones and colliding approaches to fully gel. Still, this is the kind of calling card that gets filmmakers noticed and makes viewers intrigued to see what's next.
If there was a single thought prominent in my mind as I watched Garfield: The Movie, it was "Why?" Not so much "why" I was there (although my decision to get up early on a Saturday morning to attend this screening might be a cause for concern), but "why" this film was committed to celluloid in the first place. Is Fox so desperate for family-friendly fare that they were willing to greenlight the transformation of a marginally witty comic strip character into a CGI abomination? Or are they seeking to have their own version of Howard the Duck? Either way, the result is a motion picture so ungainly and awful that only an under-8 child could appreciate it.
Pursuit of Happyness
With a title like The Pursuit of Happyness, you expect the characters to get to the promised land. They do, but if the journey matters more than the destination, this is a movie to skip. The Pursuit of Happyness is long, dull, and depressing. It expands into two hours a story that could have been told more effectively in one. This is not the feel-good movie of the season unless you believe that a few moments of good cheer can redeem 110 minutes of gloom. Sitting through The Pursuit of Happyness is a chore. Downbeat movies aren't inherently bad (in fact, many are powerful), but this one provides artificial characters in contrived circumstances. How is it that movies "inspired by a real story" often feel more fake than those fully embedded in the realm of fiction?
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Although Mean Girls is likely to be frequently compared to Heathers, and perhaps occasionally to Election, the movie it most strongly reminds me of is 1999's Jawbreaker. All four of these films offer a darkly satirical perspective of high school and popularity, but, while Heathers and Election follow things through to the bitter end, Mean Girls, like Jawbreaker, loses its comic momentum before the closing credits roll. In this case, the ending is more sappy than happy and gives us the sense that the screenplay betrays its origins in order to avoid an unsettling denouement. As a result, Mean Girls works for its first three-quarters, then implodes as it approaches the finish line.
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In the movies, like in real life, it isn't enough just to have a heart in the right place. Good intentions are nice, but they need to be backed up by an intelligent script telling an involving story. In the case of Dangerous Minds, we get an idealized version of inner city life, where, though problems may require more than the wave of a magic wand to remove, the solutions still seem too facile.
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What do you get if you use Tim Burton, the inspired and irreverent director of Batman and Ed Wood, to combine an invasion force of bug-eyed, big-brained Martians, a star-studded cast featuring some of the biggest names in Hollywood, and a huge special effects budget? Sadly, one of 1996's most disappointing motion pictures. Mars Attacks!, Burton's half-satire/half-homage to '50s B-movies, is a stillborn affair that could have been -- and should have been -- a whole lot hipper and funnier. If you've seen the two-minute theatrical trailer, you've seen nearly everything that's worthwhile in the feature.
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A jock is seen carrying a bundle of flowers. He creeps into the house of his supposed girlfriend. It is cold inside and he finally approaches his girlfriend's room where he sees a dead man with his mouth wide open. He looks to the side and there are two more corpses.
Dirty Dancing: Havana Night
Katey Miller (Romola Garai), her parents (Sela Ward and John Slattery), and her younger sister Susie (Mika Boorem) arrive in Cuba during the Cuban revolution. A self-described bookworm, Katey is not very happy about having to move to a different country during her senior year of school as she had been planning to attend Radcliffe College; although, the rest of her family seem extremely pleased to be in Cuba. Meeting several other rich American teenagers down by the pool including James Phelps (Jonathan Jackson), the son of her father's boss; Katey becomes disgusted when one of the teenagers insults a waiter when he accidentally knocks over some of their drinks. Katey attempts to talk to the waiter - Javier (Diego Luna), who works at the hotel to support his family - because she feels awful about what had occurred but he is not interested.
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Don Wilson plays retired kickboxer Jake Raye, who travels to Manila, where his brother is favored to win a kickboxing competition. His brother is killed, and Jake realizes he must enter the competition himself to flush out his brothers killer.
The Guy from Harlem
Tough streetwise private investigator Al Connors, who works in Florida but originally hails from Harlem, is hired by the CIA to guard a visiting African princess. Moreover, Connors uses all his sharp street smarts and fierce fighting skills to find another woman whos been abducted by the evil Big Daddy.
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Farmer Vincent kidnaps unsuspecting travellers and is burying them in his garden. Unfortunately for his victims, they are not dead. He feeds his victims to prepare them for his roadside stand. His motto is It takes all kinds of critters...to make Farmer Vincents fritters. The movie is gory, but is also a parody of slasher movies like Last House on the Left.
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This is the year 2035. Everybody in the world relies on a huge system of robots, which are programmed specifically to help humans and not harm them in any way. But one person does not think that robots are helpful. Chicago homicide detective Del Spooner. but one day, he received a call from the United States Robotics (USR) about a recent death of renowned robot scientist Dr. Alfred J. Laning. Spooner immediately blamed this incident on robots without justifiable reason or proof. Then, he begins his investigation on Lannings death, only to discover Sonny, a unique robot. What Spooner does not realize, is that something is about to happen. Something that is beyond even spooners wildest dreams.
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