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Thick as thieves. (The Code)
If there was a genre of film entitled ”Mediocre Heist Films”, “The Code” would be on the top of the list without a shadow of a doubt. Unfortunately, there is not a genre of that nature so “The Code” gets put towards the bottom of the list of ‘Heist Films’. Now don’t get me wrong, the film isn’t the worst film I’ve ever seen, the problem is that it is very forgettable.
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Award-winning director Joe Wright creates a boldly original suspense thriller with “Hanna,” starring Academy Award nominee Saoirse Ronan (“The Lovely Bones,” “Atonement”) in the title role. Raised by her father (Eric Bana of “Star Trek”), an ex-CIA man, in the wilds of Finland, Hanna’s upbringing and training have been one and the same, all geared to making her the perfect assassin.
This movie is inspired by "Pilgrim's Progress" by John Bunyan and features a young and very talented actor named Solomon Ray who plays the central character Chris, or "Christian", and the movie focuses on his journey to the Celestial City.
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When a movie is this bad, it's hard to adequately describe its awfulness in words. The temptation exists to write something along the lines of: "Something this horrible has to be seen to be believed." Of course, that kind of advice would lead to e-mail death threats and other assorted nasty comments from those who spend money on The Devil's Rejects. And I'm sure AMC won't be making the same rebate offer they made for Cinderella Man. The reason is understandable: about 95% of their customers would be demanding their money back. As for the other 5%... it is said that Rob Zombie is an acquired taste (as his awful debut, House of 1000 Corpses, indicated). If that's the case, then I hope it's not contagious and I don't become infected. This is a vile and reprehensible motion picture. Critic Scott Weinberg, with whom I endured the screening, made the following comment when it was over: "I have to go home and take a shower to wash away the filth." Amen.
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The Ten is a comedy about the unlikeliest of subjects: The Ten Commandments. When I use the term "comedy," I do so loosely. This is one of those films where the humor is of the hit-and-miss variety, and it misses more often than it hits. The jokes are transparent. It's not difficult to divine what's supposed to be funny. It's just that a lot of the time, I wasn't laughing. Like a bad Monty Python or Saturday Night Live skit, there's no absence of irreverence and the viewer can sort-of understand what the performers are aiming for, but they miss the target. Sometimes it's timing and/or execution and sometimes it's that the gag isn't as funny as the filmmakers think it is, or that it runs too long, or both.
What Just Happened?
Barry Levinson's Wag the Dog was as pointed, funny, and intelligent a political satire as there has been in the last 15 years. Now, with Robert De Niro once again on board, Levinson has turned his camera toward his own backyard. What Just Happened?, based on the nonfiction memoirs of producer Art Linson, is a satirical jab to Hollywood's solar plexus that proves the argument that sometimes the most absurd things in life are the true ones. While this movie is fiction, there's so much fact in it that it's more real than many of today's so-called "documentaries." The problem is that the movie plays like one long in-joke. Who really cares about all this stuff? Hollywood types. They'll gobble this up while the rest of us yawn. If someone made a movie about your place of work, you'd probably be engrossed but anyone without a close association would likely be unimpressed. So it is with What Just Happened? This isn't a bad movie; it simply makes the mistake of believing that it has a wider appeal than is actually the case.
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Sin City is the most visually inventive comic book adaptation to make its way to a movie screen. While other directors have attempted to remain faithful to the look and "feel" of their source material, Robert Rodriguez has taken things a step further, by using Frank Miller's graphic novels as storyboards and immersing the audience neck-deep in the noir currents of Miller's den of iniquity. It's easy to get lost in Sin City. There's something to appreciate around every corner - the gritty characters, the uncompromising story, and, most of all, visuals to astound and amaze. "Eye candy" doesn't even begin to describe what Rodriguez has accomplished.
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What Women Want
The key to enjoying What Women Want - a feather-light trifle that will probably find favor at the box office - is not considering the age-old question of what might have been. The underlying premise - a male chauvinist suddenly gaining access to women's thoughts - is so infinitely rich that it could have been used as the linchpin of a truly great motion picture. However, the agenda set by director Nancy Meyers and screenwriters Josh Goldsmith and Cathy Yuspa, is of a much less substantive nature. So, rather than looking at What Women Want for what is isn't, it's most productive to view it for what it is - a romantic comedy that is as entertaining as it is inconsequential.
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Renny Harlin, whose previous directorial efforts include Die Hard 2 and Cliffhanger, seems fond of big, explosive action pictures. Unfortunately, excepting his debut (the middle film in the Die Hard trilogy), plot coherency hasn't been a particularly important attribute of his movies. Cliffhanger was little more than a series of spectacular stunts linked together by a paper-thin story. If anything, the strands of logic in Cutthroat Island are even thinner. Fortunately, as a spectacle for the eye
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Romeo Must Die
Hong Kong feet and fists mix it up with gangsta artillery in "Romeo Must Die," a style-drenched, kick-butt, music-fueled, Kung hop actioner that assiduously devotes itself to devising the most dazzling and inventive martial arts sequences it can muster. In this it succeeds absolutely, so while the film's considerable downtime provides plenty of opportunity to notice that Jet Li, in his first English-lingo starring vehicle, scarcely ever speaks a line that is more than one sentence long, Joel Silver's new production has been very shrewdly calibrated to attract Asian action addicts, hip-hop fans and general audiences looking for that "Matrix" edge.
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In 3028 AD, humanity has developed deep-space travel. An experimental discovery called Project Titan has caused the Drej, a malevolent, energy-based species, to become alarmed. Fearing humans will become the dominant species in the galaxy, the Drej declare war on humanity. As the Drej are about to destroy Earth, Professor Sam Tucker (Ron Perlman), the lead researcher for Project Titan, gives his son, Cale (Alex D. Linz), a ring and sends Cale on one of the evacuation ships with his alien friend, Tek (Tone Loc). Meanwhile, Sam and other members of his team fly the Titan spacecraft from Earth and into hyperspace. Earth is destroyed, and the remainder of the humans become drifters, generally ridiculed by other species.
Fifteen years after Earth's destruction, Cale (Matt Damon) works in a salvage yard in the Tau 14 asteroid belt alongside Tek. Cale meets Joseph Korso (Bill Pullman), a human captain who requests Cale's help to find the Titan. He shows Cale how his ring contains a map to the Titan. It is genetically-encoded to Cale's father and will also respond to Cale himself, making him the only chance for humanity's future. Cale and Korso escape to Korso's ship as the Drej arrive and attempt pursuit.
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The movie begins in Southern England in the Middle Ages and then six knights are seen riding in horses towards a destroyed town. They see the remains of burned buildings and dead people until they come upon a mother and her dead baby. She quickly dies and then a rhino-sized dragon flies overhead, the knights follow right behind, vowing to kill the creature. The six knights arrive at the dragon's lair, where they see skeletons of horses and people (the dragon's past meals), suddenly the dragon surprises them by shooting fireballs at them. The knights divide up into loose groups, carrying with them barrels of gunpowder and hide, then two knights appear and fire flaming arrows at the dragon but they miss and the dragon torches one of the knights with its fire breath. The other knights then attack, but the dragon dodges their arrows and shoots a fireball at the gunpowder barrels, which causes them to explode. This causes a cave in that traps the dragon and the knights inside, with only one knight managing to escape, who then moves on.
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Zach Riley (Aaron Eckhart) is a psychiatrist who leaves a job at a prestigious university to take up a job at the privately run mental institution, 'Millwood', belonging to Dr. Reed (William Hurt). What he doesn’t reveal at the time of his appointment is that this was the very place where his novelist father, T.L. Pierson (Nick Nolte), spent many years of his life, and later wrote a popular children’s classic, ‘Neverwas’.
Part I Wrath
A mysterious mute Norse warrior only known as One-Eye (Mads Mikkelsen), is held captive up above in misty highlands by the chieftain Barde (Alexander Morton), where he is forced to fight to the death against other tattooed men. While imprisoned, a young boy named Are tends to him regularly, bringing him food and water. One-Eye is shown to have the ability to foresee events in his dreams; a dream of him bathing in a pond leads him to discover an arrowhead on the bottom of a water bed. Using the arrowhead, he breaks free, slaughters everyone except for Are and a warrior that he lets escape, and places the head of the chieftain on a stake.
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Jack Yeats (Robert Wisden) is uncovering the biggest case of his reporting career in this murder mystery. The newsman does his best to go under cover including posing as a woman in a seedy subculture that could land him in a coffin. Touches of dark comedy give this detective drama an added punch.
A vacationing woman meets her ideal man, leading to a swift marriage. Back at home, however, their idyllic life is upset when they discover their neighbors could be assassins who have been contracted to kill the couple.