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The Last Song
It's gotten to the point where if you've seen one film based on a Nicholas Sparks book, you've seen them all. And that applies more so than ever to The Last Song, a limp effort cobbled together from bits and pieces of Sparks' previous stories. No need to write out a detailed synopsis of this movie because if you're familiar with any of Sparks' books, or their film adaptations, you've seen the story of The Last Song done before, and done much better.
In fact, this is basically Dear John with a volleyball-playing college-bound rich kid (Liam Hemsworth) in place of a guitar-playing college bound rich kid (Amanda Seyfried), and a rebellious musical prodigy estranged from her dad (Miley Cyrus) in place of a rebellious teen-turned-soldier estranged from his dad (Channing Tatum). Both The Last Song and Dear John, which just came out on February 5th and is still fresh in moviegoers' minds, have beach scenes with water dripping off some beautiful bodies. And in addition to the aforementioned similarities, both films involve a character with a deadly disease. But, at least Dear John did a decent job of setting up the 'meet cute', whereas The Last Song makes the initial meeting between the two would-be young lovers completely unbelievable and silly.
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Radiers of the Lost Ark: The Adaptaion
As someone who only dimly remembers being allowed to watch Indiana Jones's original whip-cracking outing on video as a child I rather stood out at this rare special screening of its 'Adaptation' by being (a) female (audience being 90% male) and (b) unable to recite the entire script from memory (and happy to do so unprompted). As such I was a freak neutral observer to this 100 minute recreation of Steven Spielberg's 1981 film, started in 1982 by two American 12-year-olds, funded by their pocket money and finished in 1989. And I fully expected the joke to wear thin in about, ooh, 10 minutes.
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Lang zai ji. / The Warrior and The Wolf
Angrily asserting that men are no better than ferocious beasts, doomed to fall prey eventually to their own victims, celebrated Chinese Fifth Generation director Tian Zhuangzhuang launches into a series of metaphors leading to other metaphors and flashbacks within flashbacks with the Warrior and the Wolf, set in ancient times as the Chinese Empire takes on the rebellions tribes at its borders.
Tian is asking even his most faithful followers to work hard here to unravel the unwieldy knots of his story, based on a short piece by Japanese writer Yasushi Inoue but expanded with numerous brutal battles sequences and several torrid sex scenes. The director’s reputation could secure this arthouse and certainly festival play, but critical support is less than assured.
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Writer, producer, and wannabe action star Hector Echavarria, still fresh from shooting the MMA turkey NEVER SURRENDER, returns with another exploitive, low-budget MMA bomb in the same year and he’s even wearing the exact same clothes! Again, we get a group of pro-MMA fighters in supporting roles, unnecessary soft porn, bland power rock, and shoddy fight work that does neither MMA justice nor action cinema in general.
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“Bedevilled” emerged as one of the most hard hitting and accomplished films from Korea in 2010, a shocking and unforgettable revenge thriller starring actress Seo Young Hee (“The Chaser”) as a woman pushed too far. The film marked the debut feature of Jang Cheol Su, who previously worked as an assistant to angry auteur Kim Ki Duk, and so it’s perhaps unsurprising that it deals in no-holds barred fashion with themes of abuse, gender politics, and of course, murder. Unusually for an uncompromising and violent outing, the film was hailed by critics around the world, premiering at the International Critic’s Week at Cannes 2010 and going on to win a number of prizes and nominations for Jang Cheol Su and Seo Young Hee.
The film kicks off with cold Seoul career woman Hae Won (Ji Seong Won, also in “Harmony”) having a dreadful day, witnessing the brutal beating of a young woman and being pushed over the edge by the pleadings of an old woman at the bank where she works. Told by her boss in no uncertain terms to take a break, she heads to remote Moo Do Island where she grew up and where her friend Bok Nam (Seo Young Hee) still lives, whose letters she has been simply throwing unopened in the trash. She soon discovers that Bok Nam has been suffering horrific abuse at the hands of her husband and his brutish brother, not to mention being exploited by the handful of cruel old women who make up the rest of the island’s tiny population. After it becomes clear that Hae won is unlikely to help, Bok Nam grabs her young daughter and tries to flee, though is soon recaptured, the poor child dying in the process. Finally snapping, the unhinged woman grabs a sickle and takes bloody revenge.
With her most recent directorial outing, Sofia Coppola has strayed into an area of pretentiousness that we have rarely seen since the height of the French New Wave. There's probably a class of cinephile who will lap up Somewhere, savoring its bland flavor between bites of Baluga caviar and sips of Margaux 1982 Cabernet Sauvignon. For the rest of us, though, this movie works best as a sleep tonic. Somewhere isn't just frustratingly slow-moving; it's inert.
Chandni Chowk to China
To Western audiences, Chandni Chowk to China will seem much like any Bollywood movie would seem: a rather astonishing mess. Like the cinematic equivalent of someone appearing on Mr. Blackwell's Ten Worst-Dressed list, the movie is a garish mix of conflicting styles and genres, cross-pollinating overproduced musical numbers, cheesy melodrama, and kung-fu. The film is too long by at least 30 minutes and drags noticeably during the second half but, in large part because of its "kitchen sink" approach, it offers its share of bizarrely entertaining moments, although one suspects that the average American movie-goer who has never before experienced the unique flavor of a Bollywood production won't know what to make of Chandni Chowk to China.
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It is said that revenge is a dish best served cold. The Proposition illustrates that, extending the metaphor, revenge is more often bitter than sweet. Gritty to the point of being disturbing, The Proposition examines the revenge thriller not as the culmination of righteous indignation, but as a pyrrhic victory devoid of catharsis. On the surface, The Proposition may echo Hollywood's storied Westerns, but the look and the feel of the film are more disquieting than anything that John Ford or Sergio Leone ever brought to the screen. Closer cousins might be Clint Eastwood's Unforgiven and the HBO TV show Deadwood.
Robots is every bit as visually engaging as the best of the Pixar (or Dreamworks) digitally animated fare. The landscapes are stunning, the characters are intricately formed, there's plenty of break-neck action, and Robin Williams provides a helping of belly laughs. Despite these positive qualities, Robots never seems more than passably entertaining. In fact, it more often resembles the template for a video game (with the interactivity removed in theaters - no doubt that will be restored for the X-Box and PlayStation 2 discs) than a fully realized motion picture. It doesn't take long to uncover the culprit for Robots' lack of inspiration. The pedestrian plot is aimed squarely at five-year olds.
Screenwriters Lowell Ganz & Babaloo Mandel have never been known for their subtlety (even their best work - like Splash, Parenthood, and A League of Their Own -
Something New is something old and very familiar. This is an opposites attract romantic comedy, with a racial twist thrown in to add a little spice. Actually, these days, with mixed race relationships becoming commonplace, it's debatable how big a "twist" this is. 30 or 40 years ago, a movie about a black character dating a white one was radical. Today, it doesn't raise an eyebrow. Society's views have changed to the degree where it has become possible to use the premise of the serious Look Who's Coming to Dinner for the sit com-ish Guess Who.
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Tears of the Sun
A coup d'état occurs in Nigeria, violently overthrowing the Presidential Azuka family, and establishing the dictatorship of rebel general Mustafa Yakubu. The Northern Fulani Muslim rebels then execute a violent ethnic cleansing, against the Christian (mainly Catholic) Igbo tribes in the southern region.
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The Last Kiss
Michael and his live-in girlfriend Jenna appear to be enjoying the perfect relationship: Jenna is pregnant prior to the opening of the film and her parents are pressuring the pair to get married. Jenna claims that Michael's work pressures and her own dissertation rendered it an inopportune time for marriage. The real
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One, Two, Many
A modern-day romance that follows one mans quest to find the girl of his dreams. A girl who can agree that three is company.
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Last Stand at Saber River
As America recovers from the Civil War, Paul Cable (Tom Selleck) returns home to Texas after being years away from his family fighting for the Confederacy. His wife, Martha (Suzy Amis), is a pretty but strong willed frontier woman, whose independence makes her a force in of herself. She had been told that he was killed in action. Upon his unexpected return, she devotes herself once again to being his wife, but resents him for having left her and their children behind to fight a war she didn't care to understand. Having loved each other since childhood, the two now, though married, are like strangers, and the tension between them is evident. During his absence, their youngest daughter had died from fever, and Martha, having borne that without him, has developed a hatred for her husband. Her father James Sanford (Harry Carey Jr.) scolds her for her attitude toward Cable, to which she stands her ground, never backing down from her stance on the subject. Her father knows her well, and lets the subject alone.
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Larry Burrows is unhappy and feels powerless over his life. He believes his entire life could have turned out differently had he not missed that shot in a baseball game when was a kid. One night he meets this mysterious man, who could change his fate by offering him that alternative life he always dreamed of. But as Burrows embarks on this journey of self discovery he realises that even this new life has its problems and drawbacks..
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Napoleon and Samantha
Eleven-year-old Napoleon (Johnny Whitaker) lives with his grandfather (Will Geer). He and his grandfather adopt a lion named Major when by chance they meet an old clown who cannot take him back to Europe.
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