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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.
Across the Hall
Mankind existed for thousands of years without them, yet today, it´s as though they´re vital to our survival. Something that was once simple and plugged into your wall now can do everything except make breakfast for you, and it fits in your pocket. They glow, vibrate, make noise, play games and help us communicate. They also annoy, infuriate and disrupt sometimes more than they help. I´m talking about your cell phone, of course. I think these devices are probably the creation of the Devil himself, but regardless, most folks tend to like, rely on and, sadly, fall in love with what is really just a tool.
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Underachieving even by the standards of stoner comedies, “Strange Wilderness” is so inert that it doesn’t so much unreel on screen as loiter there, giggling at its own outrageousness.
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When a movie tries to be intentionally campy, it follows a difficult road. Most films that attempt this fail because the artifice of the situation drains the humor from it. Genuine camp is the child of earnestness and ineptitude, and is only found in features that the director intends to be taken seriously. That's not to say it can't be manufactured as a means of parody, but such an act requires a deftness of touch that, at least in this case, escapes director Jared Hess. After a promising beginning, Nacho Libre goes off the rails with its over-the-top satire and intentional campiness failing to generate many laughs. The film starts out funny, but it doesn't take long for it to become tedious.
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Most directors, upon entering a genre with which they lack familiarity, adhere strictly to "the book." David Mamet, however, throws "the book" out the window. The resulting movie, a mixed martial arts concoction called Redbelt, is different than what fans of Mamet, MMA, or anything else are likely to have seen before. The plot is borderline ridiculous and certainly doesn't stand up to close (or even not-so-close) scrutiny, but there's a level of entertainment to be had watching it unfold in all its strangeness. And, as always with Mamet, there's the question of whether his particular method of directing actors to speak his dialogue (a mannered, staccato delivery) is effective or distracting, or perhaps both.
Away from Her
It has been said that Alzheimer's is the only "major" terminal condition to exact a greater toll on the family than the victim. Compared to cancer (for example), Alzheimer's offers a relatively gentle journey into oblivion for the patient, a gradual dissolution of memory and personality. For the caregivers, however, the experience is different. They must watch as a loved one disappears, stolen away piece by piece, before their eyes. The process of mourning begins before the patient has died.
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2005 has been an uncommonly a good year for documentaries, and Grizzly Man, the latest from acclaimed German director Werner Herzog, does nothing to weaken the field. Grizzly Man is actually three movies in one: a wildlife film about how grizzly bears behave in their natural habitat, a character study of an eccentric environmentalist, and a chilling, voyeuristic narrative of how death stalks that man.
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Fugitive Pieces was accorded the honor of opening the 2007 Toronto International Film Festival, and it became the latest in a long line of Opening Night movies to have trouble securing a distributor. After an eight month interval after its World Premiere, the movie is being given a small U.S. Distribution by Samuel Goldwyn Films. What was worth missing in Toronto is worth missing at a local art house. In a word, Fugitive Pieces can be described as “forgettable.” The film has lofty goals, but comes across as leaden and pretentious. It’s a character study in which the lead participant is the least interesting person in the movie. There’s something inherently frustrating and unsatisfying about that. As a viewer, you want to become involved in this man’s life but the film never takes you to a point where that’s possible. This is a fatal flaw.
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Arriving in theaters two weeks late but otherwise unscathed is Antoine Fuqua's Training Day, the story of an idealistic young cop who gets a hard lesson about life in the streets from a veteran. Shining with the star power of Denzel Washington (playing the most morally ambiguous role of a fruitful career) and Ethan Hawke, Training Day crackles with energy. It's two hours long, but seems a lot shorter. However, as good as most of the movie is, it could have been better had the ending evidenced more careful scripting and less of a reliance upon contrivances.
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Monster's Ball is a powerful and poignant motion picture not about racism and redemption, as one might initially suppose, but about one of the most urgent and universal of human needs - that of finding solace for pain and loneliness. Though it has some of the trappings of an interracial romance, Monster's Ball is not that, either. The sex in this movie is not a precursor to love; it is a means by which two people can find temporary refuge from their otherwise bleak existences. An orgasm is an effective way to wipe away everything else, if only for a few moments.
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George of the Jungle
I suppose there are a lot of Generation Xers who harbor a certain fondness for the old TV cartoon George of the Jungle, which ran on Saturday mornings in the late '60s and early '70s (apparently, there were only 17 episodes produced, but they were rerun so often that it seemed like a lot more). As a result, it was only to be expected that in this era of re-hashing TV products for the big screen, someone would stumble upon George. The outcome is a live-action re- interpretation of the cartoon that, despite changing numerous details, remains faithful to the spirit of its inspiration. However, perhaps the most surprising thing about this movie is that it's far more entertaining than one might reasonably expect given the premise.
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The story of the rise and fall of the Roman Emperor Gaius Julius Caesar, born July 13, 100 B.C., and starting his career as a young Roman with visions of greatness for the Eternal City. When Sulla conquers Rome with his troops, Caesar is one of the very few to stand up against the despotic dictator. This impresses Pompeius, Sullas general, and he protects the young man, who is a nephew of Marius, a well known veteran, against the wrath of Sulla. After Sullas death, Caesar returns from exile and starts his political career.
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Stan Ross (Bernie Mac) was a Milwaukee Brewers baseball star. After recording his 3,000th hit the selfish, narcissistic Ross immediately retired, leaving the team without one of its star players in the middle of the 1995 playoff race. During the next nine years Ross used his nickname as a business tool, owning several profitable properties under the name "Mr. 3000" that made him a rich man.
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Like Mike is about Calvin Cambridge, a teenage orphan who dreams about getting adopted, and his two best friends named Murph and Reg Stevens selling chocolate for this greedy orphanage director, Stan Bittleman, (played by Crispin Glover) after each home game of the Los Angeles Knights (a fictional NBA franchise team loosely based on the Los Angeles Clippers).
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Throw Momma from the Train
Novelist Larry Donner (Billy Crystal) struggles with writer's block due to his resentment towards his ex-wife Margaret (Kate Mulgrew), who stole his book and garnered mainstream success and critical acclaim with it. Owen Lift (Danny DeVito) is a timid, middle-aged man who still lives with his overbearing, abusive mother (Anne Ramsey). Owen fantasizes of killing his mother but can't summon the courage to bring his desires into fruition. As a student in Larry's community college writing class, Owen is given advice by Larry to view an Alfred Hitchcock film to gain some insight into plot development. He sees Strangers on a Train, in which two strangers conspire to commit a murder for each other, figuring their lack of connection to the victim will, in theory, establish a perfect alibi. Having overheard Larry's public rant that he wish his ex-wife dead, Owen forms a plan to kill Margaret, believing that Larry will respond by killing his mother.
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When Suzie and her parents take a visit to Japan her fathers business partner, an inventor called Tetsuro decides to make Suzie a robot. The robots name is Too Much (or TM for short) and he and Suzie become the best of friends. But when the day comes for Suzie to return home she finds shes not allowed to take TM with her, so they run away together. However, they must watch out for a rival inventor of Tetsuros is looking for them so that he can examine TMs programming. Will TM and Suzie manage to escape from his clutches and prove that love conquers all?
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