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Riffing on isolation, claustrophobia and science fiction isn't a fresh concept to cinema audiences. We've seen the good – Stan Kubrick's '2001: A Space Odyssey' – and the bad – Michael Bay's 'The Island'. Director Duncan Jones' 2009 space odyssey, 'Moon' borrows heavily from both films – appropriating ideas and settings to create a piece of very compelling science fiction.
The Time Traveler's
Let's get this out of the way right up front – The Time Traveler's Wife is first and foremost a love story. Author Audrey Niffenegger put it all right there in the title of the book on which the film is based. If it were a more intellectual or scientific exploration of the theories of temporal displacement, it would have been called The Time Traveler (and it would have been written by somebody else). But, as the title indicates, there are two protagonists in this story. The well-worn plot device of time travel is used as a metaphor for the emotional distance that often creeps into even the most solid of long-term relationships. The film asks the audience to engage with the story and characters using their hearts, not their brains. If you know that going in, you'll undoubtedly be able to enjoy the film more for what it is.
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As high-concepts go, Outlander is a doozy - spaceman becomes stranded in a Viking land with an alien in hot pursuit. Yet in spite of such a ridiculous premise, the film actually works, resulting in something of a sci-fi gem.
Jim Caviezel plays Kainan, a human warrior from a faraway world, whose spacecraft crash lands in the Viking territory of Herot in 709 A.D. Soon captured by the locals, he stumbles into a bloody war between King Rothgar (John Hurt) and King Gunnar (Ron Perlman), while at the same time falling for the womanly charms of Rothgar's daughter Freya.
Dario Argento’s newest film, the aptly named Giallo, isn’t the saving grace his fans are expecting, yet it isn’t the abomination his fans were expecting. If anything, it’s a much stronger film than his recent films, in terms of plotting, but as a giallo film it doesn’t offer up much new from a genre fans have grown accustomed too after 35 years. So? Fans have been really critical of Argento in the recent later stage of his career, more so than they have against Romero and even Carpenter. Immediately, they shrug off a new film, proclaiming it’ll be no classic like Deep Red or Suspiria. But does a new Argento film need to be a classic each and every time? Have horror fans become that short-tempered and spoiled? I think so.
The Bucket List
"The Bucket List" is a movie about two old codgers who are nothing like people, both suffering from cancer that is nothing like cancer, and setting off on adventures that are nothing like possible. I urgently advise hospitals: Do not make the DVD available to your patients; there may be an outbreak of bedpans thrown at TV screens.
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Given its title and the presence of top Korean goofball Lim Chang Jung, it should come as no surprise to learn that “Romantic Debtors” is a romantic comedy. Directed by Shin Keun Ho, the film also features popular actress Uhm Ji Won (with who he co-starred in “Scout”) as his love interest, in a rather unlikely tale about a bad tempered detective falling for a hard nosed debt collector – surely a sign that genre scriptwriters are having to look pretty far afield to come up with new ideas for wacky mismatched couples.
Lim Chang Jung (“Sex is Zero”) plays Bang, a homicide cop who has unfortunately landed himself up to his neck in debt after being let down by a friend. Chasing him up with irate calls every half hour demanding that he catches up on his payments is the hot-headed and frequently foul-mouthed Mu Ryeong (Uhm Ji Won, who also recently appeared in the bawdy comedy “Foxy Festival”), who spends her days yelling down the phone at customers. Love seems to be in the air after the two meet at the police station, though sparks of the wrong kind are soon flying once he realises that she is in fact the harridan who has been making his life a misery.
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For Your Consideration
When you think of Christopher Guest, the first thing likely to spring to mind is fake documentaries. He has made his reputation in the arena. From This Is Spinal Tap (which he co-wrote but did not direct) to A Mighty Wind, Guest has turned his camera on a variety of subjects. The term "mockumentary" was coined to descibe Guest's work and that of those who have copied him over the years. Although Guest is the unquestioned King of the Mockumentaries, with For Your Consideration, he steps back from his trademark approach. For Your Consideration is a satire, but it's not set up as a faux documentary. Instead, this send up of the movie industry is constructed as a series of largely improvised you-are-there scenes interspersed with fake TV clips. The result is often amusing but rarely uproarious, making this the softest of Guest's recent oeuvre.
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One of the best reviewed movies of 2000, Almost Famous is sure to appear on many critics' end-of-the-year Top 10 lists. A number of respected voices have already declared this to be the best film of the year. However, although there's no doubt that Almost Famous represents a thoroughly engaging two hours spent in a darkened theater, lauding it as one of the year's greatest may be an overreaction by some to the poor quality of other 2000 entries to date. In fact, one could argue that Almost Famous is not even 43 year-old writer/director Cameron Crowe's best feature - both Say Anything and Jerry Maguire were superior.
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Bounce delivers exactly what viewers expect from a romance: two people who meet under unusual circumstances fall in love, then are pushed apart by complications before finding each other again. There are no surprises, twists, or unexpected turns of plot. This is the kind of film where the characters travel along a pre-determined path from Point A to Point B, with the finish line visible from the moment the two stars are named in the opening credits. The only tangents are those allowed by the laws of screen romances. Nevertheless, while all of that may make for a predictable movie-going experience, it doesn't necessarily make for unpleasant one. Bounce is actually a decent romance with three things going for it. In the first place, Don Roos' dialogue is a cut above the norm. Secondly, stars Ben Affleck and Gwyneth Paltrow connect in a credible manner. Finally, the film touches on a few intriguing philosophical issues, such as the guilt an individual feels when someone close to him or her unexpectedly dies.
It was bound to happen: a dud for Pixar. Making a sequel to 2006's Cars was always something of a head-scratcher. The original movie, while possessing a certain charm, was among the studio's least inspired efforts and the death of Paul Newman (Cars was his final big-screen role) left a hole at the emotional center (the student/mentor relationship between Owen Wilson's Lightning McQueen and Newman's Doc Hudson). The development of Cars 2 seems to have been driven as much by merchandising wants as creative needs. After all, it's easier to sell cars than Ed Asner. The Disney/Pixar label assures box office success but, especially in the case of a high profile family film, that has minimal correlation with actual quality. And, although it would be unfair to label Cars 2 as unwatchable, it is surprisingly tedious in parts and not as satisfying as one might expect.
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Preston Blake started out in his career hoping to be a disc jockey as a young man, slowly working his way up through the ranks to found Blake Media, a corporation running hundreds of television and radio stations and with 50 thousand employees. After Blake freezes to death at the summit of Mount Everest with a triumphant smile on his face, a search for his heir begins.
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Dr. Anna Fugazzi is a young, attractive psychologist with a loving and devoted (albeit freakish) boyfriend, plenty of stimulating friends, and a bright future ahead of her. But beneath her perfect life and calm exterior lies a deadly secret that she herself cannot imagine, much less confront!!! There is a delicate balance between reality and illusion, between conscious and the subconscious, and for Dr. Fugazzi, the truth lies somewhere in between the beauty of her present life and the horror of the not-too-distant past!!! Shocked by hallucinations and deadly images, tantalized by familiar, eerie voices, provoked by her deranged and knowing patients, and daily nightmares that awaken her in a strange, white room, Dr. Fugazzi takes an inhuman journey into her very psyche!!!!
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Eddie and the Cruisers II: Eddie Lives!
Satin Records, who twenty years prior had rejected Eddie and the Cruisers last album, A Season in Hell, launches an "Eddie Lives!" campaign to make more money from his image in a publicity stunt, despite them not believing he is alive. The record label re-releases the band's first album, which becomes an even bigger hit than it had on its first release. As seen in the first film, the "lost recordings" from Season in Hell are released and become yet another hit album. In fact, Eddie Wilson is living, and had simply slipped away following the car crash in which he was believed killed. By that stage in his life, he simply wanted to leave music behind him. The newly generated constant spotlight surrounding his supposed death angers the reclusive rocker, by now living in Canada as a construction worker under the name Joe West.
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George Rossi, who immigrated to the US and served in the Vietnam War, is now a Superintendent of a Queens apartment building. He finds himself quickly slipping into a depraved world which is fueled by the tenants of the building.
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In a Dark Place
Anna Veigh, a recently qualified art therapist and teacher, is finding work at her inner city special school a tougher psychological challenge than she can cope with. The offer of a new post minding two wealthy young orphans whilst their wealthy uncle is away on business seems a perfect escape for her. It is a welcome escape. Her new workplace is Bly House, a remote country estate with beautiful grounds and a small resident staff. Miles and Flora, the children, seem sweet and charming, if a little strange, and Anna thinks that she has really landed on her feet after the rigors of her previous job. The only fly in the ointment is the frosty estate manager, Miss Grose, who seems remote and unfriendly to the new arrival. Very soon, moreover, Anna makes disquieting discoveries. Miles, the boy, has been expelled from his school, for a sin so dreadful the headmaster will not even discuss it. Anna then learns that her predecessor in the job, one Miss Jessel, died in suspicious circumstances. To add to her unease, she begins to catch glimpses of unknown sinister figures lurking in the grounds, but nobody else admits to seeing them. Anna confronts the Miss Grose with her suspicions about these intruders, but is surprised by the force of Miss Groses reaction. The figures Anna describes are unmistakably those of two ex-employees at the house. The only problem is that these employees are dead. Anna senses that the ghostly manifestations are malevolent in their intent. Not only is the psychological welfare of the children in very real jeopardy, but their lives and their souls are also at risk. But Anna is forced to confront dark secrets buried deep in her own psyche as she fights to cleanse the childrens souls of darkness, with terrifying consequences for all concerned.
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In the year 2053, the earth has been devastated by a military experiment gone awry. The ozone layer is gone, radioactive clouds drift across the plains, and unpredictable, intense bursts of ultra-violet sunlight (called brights) incinerate anyone caught outside. In these conditions, a group of travelers are trying to get from the frontier town of Jericho to the paradise safe haven of Neon City A doctor named Tom, an old man with a mysterious past, a prostitute, a spoiled rich girl, an untalented comedian, and a bounty hunter named Stark with his valuable prisoner Reno. They board an armored truck converted into a passenger transport driven by an ex-convict named Bulk. Along they way, the travelers deal with passing though radioactive Xander clouds, 150F degrees of brights, unstable paved roads, and nomadic motorcycle riders who kill anyone venturing though their territory. During the journey, few, if any, of the passengers turn out to be what they initially appear.
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