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Other people's problems are funny. Especially when these other people don't think they have any problems to begin with. That, in a nutshell, is the premise behind the Vince Vaughn and Jon Favreau scripted Couples Retreat. But while beautiful scenery (both the film's Bora Bora location and it's lovely leading ladies), crazy improv and some mad Guitar Hero action make for rather broad-reaching humor sure to hit almost every audience demographic, the film itself amounts to just more of the same laughs we've seen executed to better effect in such R-rated comedies as Old School and Wedding Crashers.
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If Michael Bay were a strip club, he'd be one of those high-class joints where all the gorgeous girls work, dancing to two-minute R&B songs while offering top-shelf champagne and primo lap dances, but never letting you do anything more than touch. If Neveldine & Taylor were a strip club, they'd be the small, cramped room with blaring rock music, one pole in the middle of the floor, a bar that pours only watered-down Tequila shots and a stage full of skanks who'll do anything for $50. They're both essentially about the same stuff -- hot chicks, violent action, pounding music and snappy visuals -- but one leaves you feeling quasi-classy and satisfied where the other leaves you feeling like a dirty, degenerate scumbag.
The Spiderwick Chronicles
The Spiderwick Chronicles has all the elements that make up great kids' movies: a haunted house, a family secret, an ordinary child granted an extraordinary skill, and an emotional subplot that anchors the fantasy within real human experience. Though it doesnít match the immortal greats like E.T., it comes remarkably close, and provides a genuinely thrilling adventure story that never panders or condescends. Itís hard to come by good kids' entertainment these days, as Alvin and the Chipmunks demonstrates, so weary parents should be especially grateful for this fantasy romp.
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The film opens to the sound of a woman's screams over a black screen. The narrative circle begins in a hospital maternity ward, where the unseen woman has just given birth to a baby girl. It will be her ruin, because her husband and in-laws are expecting a boy. This is the end of her brief story, but her name will be mysteriously heard once again at pic's end, in a police station.
A curse transforms a handsome and arrogant young man into everything he detests in this contemporary retelling of Beauty and the Beast. Wealthy Kyle Kingson (Alex Pettyfer) has everything a teenager could want in life, but he still gets off on humiliating the weaker and less attractive. When Kyle invites his misfit classmate Kendra (Mary-Kate Olsen) to an environmental rally at their school, she questions his motivations but reluctantly accepts. Later, Kyle blows Kendra off, prompting the spurned goth girl to cast a dark spell on the swaggering egotist.
The dumb, raunchy comedy is not a new genre - in one form or another, it's far older than cinema. (What else would one call Chaucer's The Canterbury Tales?) However, as far as the modern incarnation is concerned, its genesis can be traced back to the early '80s, when films like Porky's inexplicably packed theaters. A half-generation later, this kind of motion picture is bigger than ever, with seemingly every other weekend offering another opportunity for movie-goers to laugh at the antics of stupid characters doing gross and moronic things.
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Ensemble features can be daunting, yet some filmmakers embrace the challenge, and their results reward an audience. A lot of characters are woven into the tapestry of Crash, the feature directing debut of TV veteran Paul Haggis. (Haggis was also Oscar nominated for writing the screenplay of Million Dollar Baby.) The story unfolds in Los Angeles, where hostility is often a barrier to intimacy, and hatred and fear cloud judgment. Don Cheadle plays Graham Waters, a police detective investigating what may be a racially-motivated killing. Graham is having an affair with his Latina partner (Jennifer Esposito), whom he variously refers to as "a white woman" and "Mexican," neither of which is accurate. Matt Dillon is LAPD officer Jack Ryan, a 17 year veteran of the force whose actions often cross the line. When he fondles a woman (Thandie Newton) during a routine traffic stop, his partner (Ryan Phillippe) wants to sever their professional relationship. Meanwhile, the D.A., Rick Cameron (Brendan Fraser), and his wife, Jean (Sandra Bullock), become crime victims when their car is stolen by a pair of thieves (Chris "Ludicris" Bridges and Larenz Tate).
Over the years, the tendency when incorporating Nazis into movies has been to use them as the kind of diabolical villain with whom it's difficult (or at least uncomfortable) to sympathize. The concept that there might have been Nazis in Germany during Hitler's time in power who weren't rotten to the core has largely been avoided as a moral quagmire into which filmmakers have not wanted to venture. Demonization is a more secure and profitable route. Safe Nazis - like the ones used by Steven Spielberg in his Indiana Jones movies - are bad Nazis. Adding complexity to the equation is a daring step that has only recently been attempted by a small but growing cadre of directors. Last year, there was Paul Verhoeven's Black Book. This year, in addition to Good, we have seen The Reader and Valkyrie. Unfortunately, more is needed for success than the desire to make a movie about a Nazi who bears a greater resemblance to a living, breathing human being than to the familiar caricature. Black Book, The Reader, and Valkyrie have it. Good doesn't.
Oldboy could be considered a mystery. Or a bloody revenge picture. Or a twisted romance. Or a tale of extreme karma. Regardless of how you look at Oldboy, it's unlike anything you are likely to have seen before. Director Park Chan-wook starts with a great premise, and uses it as a springboard for a flawed-yet-compelling yarn of life-and-death, cat-and-mouse games between Oh Dae-su (Choi Min-sik) and his arch-enemy, Lee Wu-jin (Yu Ji-tae), with the beautiful, vulnerable Mido (Kang Hye-jeong) caught in the middle. And, just when you think you know where Oldboy is headed, the film takes a turn designed to foil all expectations.
Once Were Warriors
Once Were Warriors, a New Zealand export, is centered upon the touchy yet timely topic of domestic violence. It is not, however, merely another "domestic violence motion picture." With its complex cultural backdrop and its stark view of this societal cancer, Once Were Warriors attains a level where it is equally painful and potent.
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Yeti: Curse of the Snow Demon
A college football team's plane crashes in the Himalayas. The survivors have only three energy bars for food. Finding a trail of blood, Garcia and Andrew find a cave that turns out to be a Yeti's lair. Garcia escapes, but the Yeti devours Andrew. Soon afterward, Sarah sees one of the corpses being dragged away, but Peyton ignores her.
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In the 80s, after seeing his father and lumberjack foreman being hit by a protestor against the deforesting and arrested by the police, the boy Gus kills the protestor with a chainsaw. In the present days, Samantha, who is traumatized after being abused by her former boyfriend Jimmy, travels with her pothead friends in a van to the American Free Love Festival, a rock-and-roll concert in the woods. Near the location, they are assaulted by three local hillbillies, but they succeed to arrive in the festival. Meanwhile, Mayor Hal Burton and Deputy Buzz Hall try to give a minimum of organization to the event. However, a deranged psychopath serial-killer wearing a mask of Ronald Reagan uses an ax to kill the pacific stoned hippies.
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The Final Season
True story of Kent Stock, who in the early 90s, gives up a job and ditches his wedding plans to take over as head coach as the Norway High School baseball team. Kent must win over his players and convince them and himself that he can fill their former coachs shoes and that they can go out winners. In the summer of 1991 Norway Highs baseball tradition ended on a triumphant but sombre note.
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Repo! The Genetic Opera
Comic style panels explain how epidemic organ failures devastated mankind in the future. The multi-billion dollar biotech company GeneCo emerged as a result. It provided for-profit organ transplantation, in addition to financing options. GeneCo was able to even repossess defaulted organs. Clients who were behind on payments feared the "organ repo men", contracted by GeneCo to recover GeneCo's property by any means necessary.
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Live Free or Die
Its not the crime, its the cover-up. In small-town, hard-scrabble New Hampshire, foul-mouthed all-talk slacker John Rugged Rudgate fancies himself a criminal. When a local plumber stares him down at a pub, Rugged vows revenge, pouring brake fluid in the mans water supply. When the man dies from unrelated causes, Rugged and his side-kick, the even dimmer Jeff, try to cover up what they think is murder. One bad decision begets another.
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Marley & Me: The Puppy Years
Marley Me The Puppy Years fetches big laughs, as the worlds worst (but most lovable) dog returns with more mischief and mayhem than ever. But this time, he has a voice literally. In this film, Marley speaks with an adorable, spirited voice as he and summer pal, Bodie Grogan, take on Dobermans, Shepherds and Collies in a neighborhood dog contest.
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