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Based on the role-playing game franchise of the same name, Mutant Chronicles is set on a post-apocalyptic Earth several hundred years in the future where the world is divvied up between four massive corporations. These corporate empires wage relentless war with each other to control what's left of the planet's dwindling resources. Thomas Jane stars as soldier Mitch Hunter, a disillusioned, hard-drinking veteran who becomes part of a suicide mission to save the world from the alien mutants that have been awakened from their centuries-long slumber deep underground.
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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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Le Premier cercle
Anton (Gaspard Ulliel) ist der Sohn des berühmt-berüchtigten Mafiabosses des armenischen Malakian-Clans. Die Langfinger-Familie hat sich an der Côte d'Azur breit gemacht und klaut alles, was nicht niet- und nagelfest ist. Doch Anton verliebt sich in die hübsche Krankenschwester Elodie (Vahina Giocante) und möchte mit ihr ein ganz neues Leben beginnen. Ganz zum Leidwesen seines Vaters Milo (Jean Reno): Dieser hat nämlich bereits ganz andere Dinge mit seinem Sohnemann geplant. Der Malakian-Clan muss weiterleben, und Anton soll die Geschäfte nach dem Ableben seines Vaters übernehmen.
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Antichrist, like many films by its Danish director Lars von Trier, has had the foaming-mouthed witch burners of the popular press out in full, end-of-the-world effect. It is, they hiss and scream with the moral certainty of which only the most self-regarding ideologues are ever capable, a work of pornography.
The Mist is what a horror film should be - dark, tense, and punctuated by just enough gore to keep the viewer's flinch reflex intact. In fact, that movie's ending is so uncompromising that one must assume director Frank Darabont had final cut so the studio couldn't interfere. (It's worth noting that the ending is not the same as that of Stephen King's novella, but I won't mention how it has changed.) Darabont has fashioned a tense motion pictures that's ultimately more about paranoia, religious fanaticism, and the price of hopelessness than it is about monsters. But the creatures are present and accounted for, lurking in the white-out that is the mist. Someone has finally succeeded where John Carpenter failed with The Fog.
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While the director name of Uwe Boll conjures up all sorts of ranging interests in the horror sector, it has long been a hit or miss relationship with his end products. As of late I must say that his products have been outstanding. Darkly outstanding for that matter. His subject matter content takes to the extreme and hits you in ways that you least expect. One of his previous films “Seed” left me with that impression. Though this film I’m reviewing is quite different than “Seed” it is absolutely shocking in the 10th degree. Based on a true story it is hard to imagine the human cruelty factor that this film delivers. We have seen many prison films over the years and have a certain amount of familiarity with what transpires. “Stoic” by comparison feels darker and dirtier. With that kind of setup you are probably wondering what it is that I’m referring to.
In the good old days, around 1925, according to “Leatherheads,” professional football was a lot more fun, a rough, ragged enterprise, untrammeled by corporate influence and unconstrained by rules and regulations. And in the slightly more recent old days — the ’30s and ’40s, more or less — movies were also more fun. They had zip, pep, moxie, trains, hats and double-entendres.
Hamlet 2 (a great title) does not represent the first time in recent years that something unconventional has been done to one of the Bard's classics. (Although, to be sure, no one has been as audacious as to develop a musical sequel to a play.) Scotland, PA re-imagined Macbeth as a modern-day comedy. In A Midwinter's Tale, Kenneth Branagh developed a comedy centered on an amateur production of Hamlet. Years later, Branagh elected to adapt Love's Labour's Lost as a musical, using established standards. Aspects of all these productions can be found in Hamlet 2, not to mention swatches of Mel Brooks' The Producers and Christopher Guest's Waiting for Guffman. Despite the richness of the premise for comic invention, however, Hamlet 2 remains a rather mediocre experience, offering sporadic laughs but never achieving the level of consistent humor necessary to make this memorable.
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Bubble is a history-making movie: the first film released simultaneously in movie theaters, on pay-per-view TV, and on DVD. As the initial move toward the collapse of the multiplex-to-video window, it's a baby step. The film is an excellent choice for this. It's a low-budget, independent effort with little mainstream appeal. But Steven Soderbergh's name on it guarantees it won't be overlooked. For those not living near one of the thirty-odd venues offering Bubble on their marquee, there is no need to wait four months for home video availability. In fact, it's possible to argue that the DVD is the preferred way to see the film. It's not the kind of movie that will suffer from a reduction in screen size, and there are several valuable features on the disc (an intriguing deleted scene, interviews, and two commentary tracks) that are not found in theaters.
You, Me and Dupree
You, Me and Dupree represents the second high-profile movie of the summer of 2006 to be mis-marketed as a comedy. As with The Break Up, this stars one of the featured actors from last year's surprise hit, Wedding Crashers. However, Owen Wilson isn't able to add more comedic pizzazz to You, Me and Dupree than Vince Vaughn was capable of providing to his anti-romance picture. In actuality, this is a flaccid drama with occasional "humorous" interludes. Unfortunately, most of the humor isn't any more amusing than the serious stuff is dramatic. You, Me and Dupree is a mess of conflicting tones and missed opportunities. The only one to emerge unscathed is Kate Hudson, who exhibits qualities she has rarely shown since her breakthrough role in Almost Famous.
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What would happen if a late-night, D-grade direct-to-cable thriller excised all of the raunchily enjoyable elements and managed to attract an A-list cast? The result might be shockingly like Perfect Stranger, a movie so inane that it fails to rise to the level of "good trash." Like Hannibal Rising, this is one of those dumb thrillers where's it's tough to decide which element is worse: the direction, the editing, the acting, or the writing. There are times when a movie like Perfect Stranger can achieve the status of a "guilty pleasure" - assuming there's plenty of sex and nudity to go along with the purple prose and cheap twists. In this case, however, the lurid elements have been neutered, resulting in a production that's not much fun.
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My Daughter's Secret
When the bad-news boyfriend (Steve Byers) of 17-year-old Justine (Nina Dobrev) robs the store where her mother, Denise (Jennifer Grant), works, Justine is torn between telling the truth and sending her boyfriend to prison, or keeping the secret from her mother, which soon starts to tear her apart. (christine-conradt) Single mother Denise (Jennifer Grant) struggles with her 17-year-old daughter Justines (Nina Dobrev) behavior. After a robbery of the jewelry store where Denise works, she notices that Justines behavior has taken a turn for the worse. But what Denise doesnt know is that her daughter is harboring a dark secret -- one that will put both mother and daughter in grave danger. (SalvsNena)
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Max (Sigourney Weaver) and Page Conners (Jennifer Love Hewitt) are a mother-daughter con artist team. When the film opens, the Conners are settling a con on Dean Cumanno (Ray Liotta), an auto-body shop owner and small-time crook. The con, which the Conners have played a number of times before on other men, involves Max marrying Dean, passing out on their wedding night to avoid actually consummating the marriage, and then Page (posing as Dean's secretary) luring
Baltimore, Maryland, 1980: in his townhouse, psychiatrist Dr. Hannibal Lecter (Hopkins) hosts a dinner party, where his guests might well be dining on portions of a man they knew. Lecter is later visited by Will Graham (Norton), a gifted, young FBI agent, with whom he has been working on a psychological profile of a serial
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The film introduces a circle of youths who are addicted to playing Hellworld, an online computer game based on the Hellraiser series. The film opens at the funeral of Adam, one of the friends who was obsessed with the game and ultimately committed suicide after becoming too immersed in the game. The remaining five friends blame themselves for not having prevented Adam's suicide.
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