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Normally, comparing a film to a television program's intended as a slight, a knock against a film that didn't have the sweep and scope you'd expect to witness on the big screen, but when I compare director Matteo Garrone's Gomorra to The Wire, I hope you'll recognize I mean it as a compliment. Set in the provinces around Naples, where the crime organization known as the Camorra is not parallel to the everyday workings of society but instead is the everyday workings of society, Gomorra's a sweeping, stirring film that has the shoot-and-loot tension of the best crime cinema but also has the scope and serious intent of great drama.
Into the Wild
For those who have read Thoreau's Walden, there comes a time, maybe only lasting a few hours or a day, when the notion of living alone in a tiny cabin beside a pond and planting some beans seems strangely seductive. Certain young men, of which I was one, lecture patient girl friends about how such a life of purity and denial makes perfect sense. Christopher McCandless did not outgrow this phase.
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his film is a horror film in a different realm. The human condition.
How we cope with things and our refusal to accept a fate or things that happen.
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Let it Rain
Let it Rain, a French film that has taken two years to reach North American theaters (a testimony to how poor the market is these days even for well-made, high-profile foreign fare), makes the case that simplicity in a motion picture can be a good thing. The director, co-writer, and co-star of Let it Rain is Agnès Jaoui, who has been a presence in French film since the mid-1980s as an actress, the early 1990s as a screenwriter, and 2000 as a director. This is her third film, following The Taste of Others and Look at Me. Jaoui has a distinct style: small, almost inconsequential narratives; well-defined characters; oblique, subtle social commentary; and enough humor to make one wonder whether the movie is better classified as a "drama" or a "comedy" (not that such labels would mean much to the filmmaker). Let it Rain fits in well with Jaoui's other efforts (both as a writer and as a director).
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Guide to Recognizing Your Saints
A Guide to Recognizing Your Saints illustrates that it's still possible to do something interesting with a familiar premise. Writer/director Dito Montiel, who has based the film on his memoirs, tells the story of a man who escaped from his "old" neighborhood to find success elsewhere, and hasn't looked back since. Now, with his father on his deathbed, he is trying to bridge a twenty year gap. The movie is not without flaws - editing has left parts of the film feeling choppy, there are a few too many directorial "flourishes," and the modern day segments get short shrift - but the performances are heartfelt and the ways in which Montiel refuses to oversentimentalize the story work.
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Meet the Fockers
I am not a fan of Meet the Parents, the 2000 film that introduced Ben Stiller to the joys of having an ex-CIA agent as a potential father-in-law. The movie is too much like a sit-com, although, as a counterbalance, it offers several big laughs. Meet the Fockers, the 2004 follow-up, plays much like the original, but with less effective humor. In the nearly two-hour running length, there are maybe five or six solid chuckles, resulting in a movie experience that is more tedious than entertaining. The problem lies in the screenplay (credited to John Hamburg and Jim Herzfeld, who also wrote installment #1), which latches on to the few clever and/or funny elements in the film and runs them into the ground via repetition.
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My Best Friend's Girl
Romantic comedies are fantasies. They invite us to fall in love with the main characters as they fall in love with each other. That's difficult to accomplish when viewers find themselves actively disliking those characters. How is it possible to succumb to the fantasy when its participants are sleazy, creepy, or bitchy? With My Best Friend's Girl, director Howard Deutch has the beginnings of an excellent anti-romantic comedy: unlikeable characters, betrayals, and a general desire to see everyone die in a nuclear holocaust. For a while, My Best Friend's Girl seems to be going in the direction of a full-on black comedy where the words "ever after" are spoken only in reference to the phrase "praying for the end of time" (with apologies to Meat Loaf). Alas, around the halfway point, the film takes a 180-degree turn and tries to follow the formula, reforming the selfish protagonist and proving that true love conquers all. The problem? We still hate the characters and the happy ending feels as much like a cheat as any I have seen all year.
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There was a time during the long history of the adult entertainment industry that porn films showed signs of artistic ambition. During the late '70s, a small cadre of directors believed that they could combine the raunch of real sex with an involving plot. It was a lofty goal, and one that ultimately proved impossible to realize, especially with the advent of video forcing movies to be made cheaper and faster. In his new film, Boogie Nights, writer/director Paul Thomas Anderson takes us back to the disco era, and, by following a small group of characters, recreates the rise and fall of "artistic porn" and those who participated in it.
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The movie opens with Joe Tyler (Perry), a process server, a week late, serving a Mafia kingpin known as Fat Charlie(Joe Viterelli) with a summons to appear as a witness in court, and his abrasive boss Ray (Cedric the Entertainer) ridiculing him for such while complimenting his rival server Tony (Vincent Pastore) for serving multiple targets in record time. Willing to give him one last shot, Ray gives Joe the assignment to serve British socialite Sara Moore (Hurley) with divorce papers from her husband, Gordon (Campbell), who is at his ranch in Texas with a mistress, Kate (Amy Adams), while Sara vacations in upstate New York.
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A Roof Overhead
The decision taken by the hospitals council board of early releasing the neurotics and depressed, throw Mona 36 and Cathy 30 in the real world....
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Back Soon is a story of love, loss, identity and hope. It follows the relationship between aspiring actor Logan Foster (Windham Beacham) and reformed drug dealer Gil Ramirez (Matthew Montgomery), two men who find themselves inexplicably drawn together despite their disparate backgrounds, and the fact that they both regarded themselves as straight. However, their bond is soon threatened by Gils mysterious past and a startling revelation about the true nature of their connection. Neither man is prepared for this, nor the impact it will have on their lives.
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Flashbacks of a Fool
oe (Daniel Craig) is a has-been actor who seemed to have had great success at one time, but who now just spends his time drinking, doing drugs and sleeping with random women. The only person he has in his life is his personal assistant Ophelia, and even she is getting tired of him. He receives a call from his mother to say his childhood best friend, Boots, whom he has not seen in years, has died. He attends a disastrous meeting with his agent, who has lost interest in Joe and his career. Joe then meets with an up-and-coming director, during which his excessive drinking causes him to lose the part he had hoped would restore his flagging career. His agent tells him that he is washed up, no one wants to work with him, and quits. This causes Joe to go for a drunken swim and have a flashback of his teenage years and his best friend.
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King - Season One
King is a Canadian police drama which premired 17 April 2011 on Showcase. The series stars Amy Price-Francis as Jessica King, a veteran police officer who gets promoted to head of the Major Crimes Task Force in Toronto after her predecessor has a breakdown on television.
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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.
Love and a .45
Watty has made a living out of robbing convenience stores, but after one of these job turned into murder by his partner, the psychopath Billy Mack, he is on the run with his fianc Starlene and with both Billy Mack, the police and some loansharks on his trail. Their plan is to go to Mexico but before they do that they want to get married and visit Starlenes parents.
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Murder by Numbers
Two bored high school students, Justin Pendleton (Michael Pitt) and Richard Haywood (Ryan Gosling), decide to murder a random girl just for the challenge. They have planned everything ahead, and yet, a stiff homicide detective follows them much tighter then they have expected
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