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A professionally executed farce of the yelling-family variety, “City Island” revolves around a blue-collar clan with more secrets than filters. At the head of the table is Vince (Andy Garcia), a stolid corrections officer and clandestine acting student; facing him is Joyce (Julianna Margulies), the wife who wonders where the passion has gone. Add a daughter (Mr. Garcia’s real-life daughter, Dominik Garcia-Lorido) who’s stripping instead of studying and a teenage son (Ezra Miller) who fantasizes about feeding doughnuts to fat women and you have a household that, even by current comedy standards, strains credulity.
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House of Usher
THE "fall" has been omitted from the film version of "The House of Usher," but not the pitfalls.
American-International, with good intentions of presenting a faithful adaption of Edgar Allan Poe's classic tale of the macabre to neighborhood-theatre audiences yesterday, blithely ignored the author's style, and fell right in.
Poe's prose style, as notable for ellipsis as imagery, compressed or eliminated the expository passages habitual to nineteenth-century fiction and invited the readers' imaginations to participate. By studiously avoiding explanations not provided by the text, and stultifying the audiences' imaginations by turning Poe's murky mansion into a cardboard castle encircled by literal green mist, the film producers have made a horror film that provides a fair degree of literacy at the cost of a patron's patience."
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Wrong Side of Town
I miss good-old-fashioned knuckle busters -- the sort of low-budget action fare that launched the careers of several B-movie action stars, not to mention stars like Bruce Lee, Sylvester Stallone, Arnold Schwarzenegger, Jean Claude Van Damme, Steven Seagal, and many others.
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Love and Other Disasters
"Love and Other Disasters" is a shambles of a film, a romantic comedy that struggles to be self-aware as a means of explaining away all its cliché. This is the first project from director Alek Keshishian since 1994's "With Honors," and, more importantly, it's his first screenwriting effort, and it shows. The script is constantly begging for attention when it doesn't need it.
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Anaconda 4. Trail of Blood
I am missing a snake. How did Anaconda 3 slither by me, unnoticed? To my mild surprise, I got a DVD in the post the other day for Anaconda 4. I watched it, and it was bad.
At the beginning of the movie we encounter an adolescent anaconda, which I reckon was captured at the end of Anaconda 3: Offspring, and who is now being used for experiments by a mild-mannered mad scientist. The baby reptile takes exception, and wreaks havoc in the Borneo-based lab before escaping, super-sizing, replicating and heading for civilization. Or are they in Romania? Oh, well… who cares? It's basically two giant, bloodthirsty snakes for the price of one, so I didn't ask any questions.
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The movie's opening scenes are intended to be reminiscent of an old 8mm family movie. They are also intended to impress upon the viewer that Spencer's father and mother were good people who he cared for very much. However, it did a pretty poor job of conveying the intended message, because I failed to care what happened to the family. When the Megalodon appeared and ate the boat, I was relieved that something, no matter how poorly edited, had happened.
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Nuno is a man working at a hot dog stand, who also invented a machine which promises to revolutionize the shoe industry- a foot scanner. In the middle of a gasoline embargo and finding himself in a strange predicament, Nuno becomes mysteriously confined to his car, finding his life suddenly embargoed.
Of all the major comic book characters to transition to a less static visual media, none has been more mistreated than the Bat-Man. As originally envisioned by creator Bob Kane in 1939, Batman was a dark character who walked the tightrope between hero and vigilante. That was his image until the 1960s, when the campy TV series starring Adam West transformed the character into a silly-but-likable good guy in gray spandex. Tim Burton re-invented Batman for a surreal (and, at the time, highly anticipated) 1989 feature, but the movie ended up focusing more on The Joker, leaving the titular hero to lick his wounds as a supporting character. By the time that Batman series reached its third movie, it had fallen back to the campy level of its TV predecessor. Now, there's nothing wrong with camp, per se, but, by the 1997 arrival of Batman and Robin, fans had had enough. Batman looked dead, at least until now.
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Bad Teacher takes a delicious premise and leaves a sour aftertaste. Despite the promise of something nasty and cutting, the film turns out to be as edgy as a dull razor with limp "raunchy" comedy and an unwillingness to push envelopes. The concept titillates - an oversexed, drug-abusing, foul-mouthed, doesn't-give-a-shit woman put in charge of a classroom - but the result is drab, obvious, and disappointing. Despite the existence of Bad Santa as an obvious template, Bad Teacher doesn't want to be dark (or at least not too dark); it wants to be naughty enough to get an R-rated but not so naughty that it will shock viewers. The product is akin to a mediocre '80s sex comedy (with minimal nudity) and "daring" is a descriptor only the most naïve and puritanical would employ.
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When the collaboration of Steven Spielberg, Jeffrey Katzenberg, and David Geffen on a new production company was first announced, it became the talk of the entertainment world. Soon, deals were being signed, contracts inked, and films placed into pre-production. Now, more than two years later, Dreamworks SKG is ready to release its first motion picture. Much is riding on the pairing of George Clooney and Nicole Kidman in The Peacemaker, a marginal thriller that isn't likely to electrify the early Autumn box office.
In an era when movies are again turning to classic literature for inspiration, it was only a matter of time before a new version of Charlotte Bronte's Jane Eyre reached the screen. One of the best-loved of all the Victorian novels, Jane Eyre combines social commentary with gothic romance. This new film, directed by Franco Zeffirelli (best known for his 1968 Oscar-nominated Romeo and Juliet), remains faithful to the original narrative in general, if not in all the particulars.
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Ten stories, each inspired by one of the Ten Commandments:
1 "Thou Shalt Worship No God Before Me
A guy (Adam Brody) becomes a celebrity after falling out of a plane and becoming permanently embedded in the ground. After a swift rise to stardom, he becomes prideful and arrogant, referring to himself as a god. His career falls apart and he loses everything. His fiancée (Winona Ryder) leaves him for a TV anchor man.
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Harriet the Spy
Harriet M. Welsch is a spy. But when Harriets friends find her secret notebook the tables are turned on her. Can she win her friends back and still keep on going with the spy buisness?
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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.
Vincent Eastman has to choose between his wife of 16 years, Sally, or his new love, Olivia. Frequent flashbacks explain the background to the marriage and the affair.
For 3 days in 1986, the earth passed through the tail of a mysterious comet. During that time, machines on earth suddenly come to life and terrorize their human creators. A small group of people in a truck stop, surrounded by alive semi-trailers, set out to stop the machines before the machines stop them.
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