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Cry of the Owl
Patricia Highsmith (1921-1995) was an American mystery writer of novels and short stories who came to fame in the 1950's with "Strangers on a Train" and "The Talented Mr. Ripley." Her most-popular character, the amiable antihero-murderer Tom Ripley, became so famous, she wrote four more books about him (but he's not in the movie reviewed here, more's the pity). Filmmakers have also loved her work, and even one of her lesser efforts, "The Cry of the Owl," which she wrote in 1962, has now seen two screen appearances, first in 1987 from the French New Wave director Claude Chabrol and in 2009 in this direct-to-video production from British writer-director Jamie Thraves ("Negative," "The Low Down"). Unfortunately, neither filmmaker could make much of Ms. Highsmith's somewhat dour, slow-moving book.
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Kill Me Please
Dr Kruger is a medical pioneer who seeks to break the taboo surrounding suicide. His government funded clinic exists to ensure that suicide is no longer a tragedy but a medically assisted way out for those whose lives have become unbearable. By studying his suicidal patients, Kruger hopes to understand the self-destructive impulse so that he can develop a medical treatment that will overcome it. The one thing he has not allowed for in his prescribed perfect suicide is that no one controls the impulse to die except death itself...
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Combine the Farrelly Brothers (Bobby and Peter) with Ben Stiller, a Cameron Diaz lookalike, and a copious dose of bodily fluids in a raunchy romantic comedy, and what do you get? Not There's Something About Mary II, that's for sure, although that was probably the producers' hope. The Heartbreak Kid, while not without its share of tiny, ephemeral pleasures, is a surprisingly flat and unamusing comedy. The film skews toward the dark side, but black humor is often the most difficult to successfully capture and in this case the Farrellys (with a small army of screenwriters, working from the framework of a 1972 script penned by Neil Simon) don't get it right. The occasional laughs provided aren't frequent enough or uproarious enough to warrant an investment of nearly two hours of a viewer's time.
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Romantic comedies are a dime-a-dozen, and most of them fail because they pursue slapstick while losing sight of the characters. Because The Cutting Edge doesn't fall into that trap, it results in an enjoyable lark. Despite a recycled plot, this appealing motion picture is likely to be embraced by everyone who enjoys a little romance.
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It would be possible to write pages and pages comparing and contrasting the reality of Bill Clinton's 1992 Presidential campaign with the fictional one of Jack Stanton, the candidate in Primary Colors. Likewise, it would be equally possible to develop a lengthy piece about the similarities and differences between the movie and the best-selling novel upon which it is based. Since more qualified individuals than I will be penning articles of this sort over the next few days and weeks, I feel confident that I can narrow the scope of this review (mostly) to the movie itself, and let others worry about the divisions between fact and fiction.
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Payback is the most viscerally involving thriller to be released in the last several months. Granted, the plot is far from air-tight (in fact, towards the end, it begins to resemble Swiss cheese), but the adrenaline level is heightened to the point where you probably won't start noticing the flaws until the end credits have finished. That's not to say that Payback is cursed with a dumb script. Actually, it is well written, contains a flock of colorful characters, and gives star Mel Gibson a number of great one-liners. Just don't expect the experience to linger once the adrenaline rush has worn off.
A title like "the Worst Director of All Time" virtually assures that people will remember Ed Wood, although perhaps not in exactly the way the filmmaker would have preferred. Tim Burton, with a biopic that is as much a parody as a tribute, has brought Wood to black-and-white life in the person of actor Johnny Depp, and surrounded him with a cast whose members often bear an uncanny resemblance to their real-life counterparts.
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Amanda Shelton (Sarah Michelle Gellar) inherits her late mother's restaurant, but lacks her mother's ability to cook. The restaurant is failing when Amanda meets a mysterious and possibly magical man at the local market. He introduces himself as Gene O'Reilly and claims to be an old friend of her mother's. He sells her crabs, one of which escapes cooking to become her personal mascot.
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A gang of thieves break into a high-security warehouse. An alert is sent to the police, but canceled for unknown reasons. Despite this, two LAPD patrol officers, Hank Rafferty (Zahn) and his partner Charlie (Timothy Busfield), decide to check it out anyway. As they split up to search the warehouse, someone shoots at Charlie, killing him, before the thieves drive away, leaving Hank in a state of shock.
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Death Defying Acts
In 1926, 13 years after his mother's death, Harry Houdini (Guy Pearce) has begun debunking mystics, psychics and others who claim to have paranormal powers. He offers $10,000 to anyone who can quote his mother's dying words to him.
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Mob enforcer Jack Carter (Stallone) returns home to Seattle when he hears that his brother, Ritchie, has been killed in a drunk driving accident. He tries to make amends with Ritchie's wife, Gloria (Richardson), and his niece Doreen (Cook), and investigates Ritchie's death after he realizes Ritchie was murdered. While he starts snooping around, his mob partner in Las Vegas, Con McCarty (John C. McGinley), covers for him with the mob boss, Fletcher (Garwin Sanford). A secondary plot revolves around an affair Carter was having with Fletcher's girlfriend, Audrey (Gretchen Mol).
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Henry Roth obsessive-compulsive, somewhat misanthropic, a writer of childrens books. His illustrator and only friend, Rudy, dies after a fabulously successful collaboration on Marty, the Beaver. Henry is under contract to produce another Marty book for Christmas sales. His publisher, Arthur Planck, assigns penniless, lovelorn illustrator Lucy Reilly to work with Henry. Shes sought by her ex-boyfriend Jeremy, who dumped her two years ago but shows up apologetic, having dedicated his new book to her. She and Henry go to a house on the shore to work. Will love bloom amid the rocks, or is Henry a bump on Lucys road to Jeremy? Rudys voice, from the grave, gives Henry counsel.
Wannabe rock star Goldi lands in a house of three musicians, one too hot, one too cold, and a third who seems just right. They let her sing with their band, and she romances them one at a time, thinking shes found her new home. But when she unleashes her own songs on the guys, they cut her out of their scene, forcing her to discover that real success means becoming your own rock and roll hero.
Suddenly the US east coast is hit by a type of natural disaster formerly reserved, except after a major earthquake, for the Pacific and Indian ocean rims tidal waves of the destructive tsunami type. Scientist and fiction author John McAdams attends a national emergency conference which concludes the phenomenon must me man-made, quite possibly abusing the findings of Johns secret former Sea Lion project, but who wants to and has the means? Indeed John soon finds himself set-up for a murder and chased. Major destructions mean major contracts for construction and coastal defenses, so building tycoons like Victor Bannister certainly have a considerable interest...
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Dooley and his dog Jerry Lee still are active as a police team with the LAPD. However, years starting and counting Captain Roger Byers thinks they urgently need to do something with their condition. He even forces them to work with a second team the one of the young Sergeant Welles and her disciplined Dobermann Zeus. Dooley and Jerry Lee thinks they can work without their new partners but a mysterious sharp-shooter forces them to the ultimate cooperation.
A 24 hour period in the lives of Fausto and Jesus, two undocumented Mexican day-laborers in L.A. Each day another task, each day the same pressure to find money. They go about their daily routine, standing on the corner at the Home Improvement Store waiting for work to come. Today, the job they are given is well paid compared to their poor usual wages. Today, Jesus carries a shotgun inside his backpack.
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