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The Marine 2
"The Marine 2" is a follow up in name only to the 2006, John Cena vehicle, "The Marine." This time, fellow WWE wrestler Ted DiBiase Jr (the son of legend The Million Dollar Man Ted DiBiase) steps into the shoes of the title role as Joe. DiBiase Jr (credited as and referred to from here on out as simply, DiBiase) is an extremely intriguing casting choice as at the time he was a rookie, mid-card wrestler. It turns out, the role was originally intended for wrestler Randy Orton, who is more on the level of Cena in terms of star power in the WWE. Orton suffered an unfortunate broken collarbone and was replaced at the last minute by DiBiase. In many ways, DiBiase's presence is a welcome change from Orton, as the latter has a tendency to mumble and not clearly enunciate when delivering weekly promos.
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The Karate Kid
The fact of the matter is it's been 26 years since the first Karate Kid, and given how many other movies have relied on the exact same formula, a full-fledged remake is pretty fair game. By moving things to China and casting 11-year-old Jaden Smith (as opposed to the 25-year-old Ralph Macchio of the original), Sony successfully put a fresh coat of paint on the rickety old story, and despite a gargantuan running time and paper-thin characters, it's kind of nice to see yet another kid learn the crane pose.
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Star Wars: The Clone Wars
Well, Star Wars: Clone Wars was released, and though it was a much anticipated event (or ploy) to get every Star Wars geek to the theater for something a little different, you might spend your money better on the Genndy Tartakovsky versions.
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Nowadays, when you hear people talking about “the Facebook movie,” chances are they mean “The Social Network,” David Fincher and Aaron Sorkin’s soon-to-open inquiry into the rise of Mark Zuckerberg, one of the founders of Facebook. But the description might be even better suited to “Catfish,” a documentary by Henry Joost and Ariel Shulman that caused some hyperventilation at the Sundance Film Festival last winter.
Nicolas Cage is a magician with a secret: he can see into the future - only two minutes into it, mind, but it's enough to guarantee plenty of bullet-dodging in this far-fetched thriller. FBI bigwig Callie Ferris (Julianne Moore) reckons Cris (Cage) can stop a terrorist bomb, but he'd rather chase moist-lipped teacher and current object of his visions, Liz (Jessica Biel). Fun time-twisting gives way to tedious implausibility in this miscast, continuity-troubled blot on an already soiled record of Philip K Dick adaptations.
Eagle vs. Shark
Eagle vs. Shark appears to be vying for the Napoleon Dynamite audience. However, while there are superficial similarities, this production, from New Zealand writer/director Taika Waititi, is unlikely to achieve the same kind of embrace by geekdom that was lavished upon Jared Hess' feature. There are two primary reasons. In the first place, the semi-comedic tone of Eagle vs. Shark is more uneven than that of Napoleon Dynamite. The film offers some laughs but there are times when the dead zones between them are uncomfortable to endure. The bigger issue relates to the characters. Like the protagonist in Napoleon Dynamite, the main characters in Eagle vs. Shark are quirky and socially inept. Unfortunately, they are also morons, and it becomes increasingly difficult to care one way or another about characters who act like they have undergone frontal lobotomies.
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Maria, Full of Grace
When applied to an animal, the term "mule" refers to a beast of burden - a slow, plodding, stupid creature whose sole asset is that it can transport large amounts of cargo without choice or complaint. When applied to a human being, the word means essentially the same thing, or at least that's the perception of those who employ the "mule." In the drug world, mules are used to carry the product into countries without being detected. Instead of being stashed in luggage or sewn into jacket linings, where they will likely be detected, the illegal substances are transported in the stomach of the mule. It's a dangerous business, but, for those who normally make poverty-level wages working long hours, the money is sometimes too great a lure.
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Hounddog began its public life at the 2007 Sundance Film Festival, where it was inauspiciously dubbed "the Dakota Fanning rape film." Poor audience and critical reception led the director to "re-work" the movie, which emerged from limbo for limited distribution nearly two years after its initial film festival showing. It seems destined for a quick one-week run in a few theaters before rushing to video stores, where it will gather dust. A failure on pretty much every level, Hounddog would never have been known beyond Park City had it not been for the notoriety surrounding the rape scene.
For today's audiences, for whom the 1980s are ancient history, how is it possible to generate interest in a Prohibition-era period piece set in the town of Idlewild, Georgia? First-time director Bryan Barber has what he hopes is the answer: gather a cast of dynamic performers and develop a soundtrack that relies not upon blues and jazz standards of the day, but on hip-hop music (not unlike the approach used by Baz Luhrmann in Moulin Rouge). Unfortunately, while Barber has assembled some of these pieces, he has ignored a critical one. His script is a shaky affair - not really the kind of material that provides a solid foundation. It is riddled with clichés and includes a number of jarring transitions. Despite the best efforts of Barber the director, he never quite overcomes the shortcomings of Barber the writer.
James and the Giant Peach
Almost everything that was true of 1993's Nightmare Before Christmas holds for 1996's James and the Giant Peach. Based (rather faithfully) on Roald Dahl's children's story, this movie uses a combination of live-action sequences and stop-motion animation to tell the tale of a lonely boy, James (Paul Terry), who finds love during a bizarre, transatlantic voyage in the innards of a gargantuan peach. His companions on the journey are a grasshopper, a centipede, a spider, an earthworm, a glow worm, and a ladybug. In the hands of Henry Selick, who directed Nightmare, this weird story has been transformed into a playful, visually arresting experience with more than a few allusions to The Wizard of Oz.
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Star Trek: Nemesis
Is this the end of Star Trek? Has the long-running TV/film franchise finally reached the point where it can no longer seek out new life and new civilizations? After defeating Klingons, Romulans, and Borg, will the ultimate enemy – the multiplex box office – finally bring it down? Only time will answer those questions, but, with the arrival of Star Trek: Nemesis, the tenth Star Trek motion picture, the venerable series is looking outmoded and outdated. Media saturation and age have taken their toll.
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Into the Wild
There's something seductive about the idea of turning one's back on civilization and all its trappings. Many of us entertain this thought during a daydream or in those gentle minutes between wakefulness and sleep, but we don't view it as the act of practical, responsible human being. From time-to-time, we hear stories about those who make this courageous, irrational leap, although many of those tales have unhappy endings. Consider Timothy Treadwell, whose video diary of life among the Alaskan grizzlies was chronicled in Werner Herzog's Grizzly Man. Treadwell died as he lived - with the bears, mauled and devoured alongside his girlfriend. Then there's Chris McCandless, a disillusioned young man who discarded his entire existence so he could make his way to Alaska and survive in a society of untamed solitude for a season. McCandless' story was told through first-hand written fragments and second-hand accounts in Jon Krakauer's book, and this is the material filmmaker Sean Penn has used as the skeleton of his latest movie, Into the Wild.
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The film opens at Xcalibur Bowling Centre, a disco-themed bowling alley in Surrey, British Columbia. Egerton (Dan Ellis), the janitor, has allowed two groups of teenagers to bowl against one another after hours. The "prep", Steve (Alistair Gamble), is still bitter after his best friend Jamie (Nathan Witte), the "jock", had sex with Lisa (Candice Lewald), a girl with whom Steve was smitten and even took to their senior prom. After Steve and his friends Joey (Wade Gibb), Patrick (Trevor Gemma) and A.J. (Nathan Dashwood) harass the "tranny", Sam (Jimmy Blais), they are chastised by Jamie. This leads to a brawl between Steve's team and Jamie's. Lisa breaks up the fight by dropping a bowling ball on Steve's foot just as Steve is about to kick Jamie again. Egerton, brandishing a shotgun, tells the teenagers to leave and they can continue their tournament the following night.
The Kids Are All Right
Nic (Annette Bening) and Jules (Julianne Moore) are a married lesbian couple living in California. They have each given birth to a child using the same sperm donor. Nic, an obstetrician, is the primary breadwinner and the stricter parent, while Jules, a housewife who is starting up a landscape design business, is more laid back.
The younger child Laser (Josh Hutcherson) wants to find his sperm donor but has to be 18 to do so. He begs his 18-year-old sister Joni (Mia Wasikowska) to contact the sperm bank and determines that Paul (Mark Ruffalo) is the donor. The three meet. Joni is impressed by his bohemian lifestyle, and Paul is enthusiastic about being in their lives. Joni swears Laser to secrecy as she does not want to upset their mothers. However, Jules and Nic find out and invite Paul over to dinner. When Jules reveals she has a landscape business, Paul asks her to landscape his back garden. Jules agrees, although Nic does not like the idea.
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Born to Ride
The stars of Starship Troopers are back in action! Mike (Casper Van Dien) decides to hit the road on his refurbished classic motorcycle along with best buddy Alex (Patrick Muldoon), but their trek takes a surprising turn when they become involved in a plan involving political blackmail.
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Eddie Ifft Live
Known for his quick wit and caustic style of comedy Eddie Ifft has a habit of speaking first and thinking never. This gets him in trouble - often. By his own admission Eddie says the most inappropriate things but somehow gets away with it. See Eddie at his very best in this extremely special presentation filmed in front of a sold out audience in Sydney Australia.
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