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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 Telling -- an anthology horror flick shot primarily at the Playboy Mansion starring Playmates Holly Madison, Bridget Marquardt, and Sara-Jean Underwood of the Playboy reality series "The Girls Next Door". Potential alternate titles the producers should have considered:
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“Robodoc” the name itself reveals the plot behind the movie. The movie is all about a robot which is a doctor with a human finish on the outside. This movie is a satire on the doctors and the medicine field else what could be said of a movie that is so insane, has its share of vulgar acts and not to mention few semi-nude scenes. The movie begins with a sleazy lawyer Attorney Jake Gorman (Kenny Babel) whose only job and motive is to sue the medical fraternity and the doctors in particular. The main hospital affected by Jake’s actions is the North Mercy hospital where the doctors keep leaving after cases of negligence gets filed on them.
If Big Nothing was a Native American, it'd be called Crazy Ass because trying to describe the story is a non-runner. With the plot changing every two minutes and the upper hand switching back and forth just as quickly, the film is delivered with such lightning pace that you'll stagger out of the cinema light-headed, holding onto the walls for support.
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Darren Aronofsky is not what you could consider a mainstream director. His movies are visually stunning, intellectually and emotionally challenging, and generally hated by the audience. It takes dedication to make it all the way through an Aronofsky film, something few movie-goers are willing to do. His latest offering, The Fountain, isn't any different in that respect, but if you grant Mr. Aronofsky the luxury of your full attention and bring a little something of yourself to the watching, there's a good chance you'll be rewarded for your effort.
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Welcome Home Roscoe Jenkins
On the surface, Welcome Home Roscoe Jenkins is just another Martin Lawrence comedy, filled with slapstick, crude sexual shenanigans, and cruelty to animals. But, looking a little deeper, one discovers a surprisingly dark undercurrent. There's a poorly realized serious subtext to this otherwise mindless comedy - something about the dysfunction that can lurk beneath the surface of a seemingly happy family and how a father doesn't have to hurl epithets to be guilty of emotional abuse. Withholding affection and respect can be equally as devastating. For much of its running time, Welcome Home Roscoe Jenkins juggles (with less than unqualified success) the dramatic and jocular while the tone veers unevenly. This unevenness catches up to director Malcolm D. Lee at the end with a series of concluding scenes that are awkward because of the artificiality necessary to wrap up everything without the consideration of consequences.
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21 is a perfect example of how something that's "based" on a true story can nevertheless exist mainly in the realm of fiction. While it's true that the source material for the movie, Ben Mezrich's Bringing Down the House relates events that actually happened, screenwriters Peter Steinfeld and Allan Loeb have fictionalized the entire story, leaving intact only the central idea that a group of MIT students devised a card-counting scheme that allowed them to fleece the Vegas casinos. And, while I'm firm believer in the adage "Never let the truth get in the way of a good story, " 21 doesn't spin a good enough yarn to justify all the changes. In fact, when one character indicates to another that he started out smart then got sloppy and stupid, he might have been referring to the script.
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.
The question of whether actor George Reeves committed suicide or was murdered will go down in history as one of Hollywood's great unsolved mysteries. Allen Coulter's Hollywoodland, a fictionalized account (it uses both apocryphal stories and confirmed events) of an investigation of the death, presents the three most common scenarios but, taking a page from Rashomon, it never settles on one. The film is balanced in its presentation of the evidence for and against suicide. Ultimately, however, Hollywoodland is only peripherally about the life and death of George Reeves. The film's real main character is a seedy P.I. who attacks the mystery and, by chasing Reeves' ghost, finds his own path to redemption.
There are only two reasons to see The Pink Panther, and neither has anything to do with Steve Martin or his bastardization of Inspector Clouseau. The first is the opening credits cartoon - no matter how bad the movie, at least the title character, playing practical jokes to the tune of Henry Mancini's unforgettable theme, doesn't disappoint. But it's a sad thing when the best part of the movie comes before the movie starts. Then there's an opportunity for viewers to see Clive Owen as James Bond - sort-of. In the lone semi-inspired bit, Owen appears as a dapper British secret agent with plenty of gadgets and a penchant for derring-do. (The Pink Panther, which has been sitting on shelves for a while awaiting its prime February release date, was filmed at time when Owen was considered to be the front-runner to replace Pierce Brosnan. Had that happened, this movie would have scored a coup. Since it didn't, this becomes an odd footnote.)
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It has been three long years since Quentin Tarantino stunned the cinema world by claiming the Cannes Film Festival's Palme D'Or, a $100 million-plus box office gross, and an Oscar nomination – all for his sophomore outing, Pulp Fiction. Since then, the talented film maker has been virtually invisible, surfacing briefly as a co-director of the wildly uneven Four Rooms and the screenwriter of the gory vampire-fest, From Dusk Till Dawn. In between, he has moonlighted as an "actor" with several decidedly unmemorable performances. Now, with much fanfare and anticipation, Tarantino has returned with his third directorial effort, Jackie Brown. And, while this motion picture, adapted from Elmore Leonard's novel, Rum Punch, offers solid entertainment, those expecting another bravura outing from Tarantino will leave theaters disappointed. For the most part, Jackie Brown is a pretty ordinary crime movie.
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Harry Potter and the Deathly Hallows: Part 2
Harry Potter and the Deathly Hallows, Part 2 – the eighth and final film in the blockbusting series – begins with our teenage heroes fighting for their lives, and for their entire world.
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Henry Perkins, a mild-mannered accountant, accidentally trades briefcases with another man, to find out that theres five million dollars inside. Henry tells his unsuspecting wife of their new-found fortune, but she doesnt embrace it as well as he does. Soon theyre joined by their best friends, a cop on the take, a cop on the hunt, and the dreaded Mr. Big, who has come to claim his million dollars.
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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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The year is 1675. England is threatened by religious and political rivalries. King Charles IIs Catholic brother, James, is next in line for the throne, but many Protestants put their faith in Charles illegitimate son, The Duke of Monmouth. On the kings death, conflict is inevitable... Over seven days journey from London, Exmoor is a primitive and lawless area. Here, farmer Jack Ridd lives with his wife Sarah, son John, and two daughters. The only shadow over their simple life is cast by the notorious outlaw family the Doones. The aristocratic Doones were banished from their ancestral lands and now live through looting, theft, and murder. Their brutality is legendary...
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Amid a strict Muslim rearing and a social life hes never had, Tariq (Evan Ross) enters college confused. New peers, family and mentors help him find his place, but the 9-11 attacks force him to face his past and make the biggest decisions of his life.