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Spaghetti, spinach and French fries, all smothered in cream sauce: the menu at Soul Kitchen, a decrepit restaurant in a converted warehouse in an industrial section of Hamburg, Germany, may not be to everyoneís palate. But the place attracts a scraggly following of regulars who exit in a huff after its manager, Zinos Kazantsakis (Adam Bousdoukos), hires Shayn (Birol Ünel), a snooty culinary prima donna, as its new chef.
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Explaining a mystery is an act of reassurance. It makes us feel that chaos has been defeated, and the forces of order restored. Zodiac, David Fincher's vastly intricate and dazzling drama about the hunt for the serial killer who terrorized the San Francisco Bay Area starting in 1969, offers no such soothing closure, and that's part of what's haunting about it. It spins your head in a new way, luring you into a vortex and then deeper still, fascinating us as much for what we don't know as what we do. Reenacting one of the most infamous ''cold'' cases in U.S. criminal history, Fincher has broken with the fanciful mode of tawdry baroque opulence he employed in Fight Club, Panic Room, and his first serial-killer outing, Seven. Zodiac is based on piles of documents culled from police records, and it's been made in a style of dogged, almost fetishistic realism, its suspense rooted in the scrappiest tidbits of bureaucratic protocol. Fincher refuses to squeeze the hunt for the Zodiac killer into tidy arcs. The revelations occur where they did, and not where they didn't.
Major Movie Star
If you find it upsetting that Jessica Simpson still has a movie career, Iíve got some good news for you: itís not going to last much longer.
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Forget Spider-Man's tussle with Doc Ock. Forget Shrek's trek to Far Far Away. And forget Harry Potter's latest attempt to endure the snipes of Snape. For me, the sequel to see during the summer of 2004 is Richard Linklater's Before Sunset, a follow-up to 1994's sublime Before Sunrise. This is one of those exceedingly rare instances in which the motivation for a sequel is creative, not financial. Before Sunrise was not a big money-maker; the existence of a second chapter defies current movie-making logic, and for that I couldn't be happier.
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The Eye is another PG-13 ghost story adapted from an Asian original, and that probably says all that needs to be said about it. Want more evidence of why is may not be the best choice for an evening's entertainment? It stars one of the most attractive, wooden actresses working today: Jessica Alba. It wasn't screened for critics. And the bad guys look like second-rate Voldemort rip-offs. Actually, all things considered, The Eye works well enough during its first hour that it might fool some viewers into thinking it's going to overcome those negative traits. Alas, the movie lives up to its legacy with a mind bogglingly dumb and disappointing final half hour. Once again, we are faced with a movie featuring an interesting premise and solid set-up that falls apart when it comes to the climax and conclusion.
The way Cashback gently plays with reality tickles the memory with distant echoes of Big Fish and Eternal Sunshine of the Spotless Mind. For his feature debut, Sean Ellis has crafted a delightful romantic comedy that provides insight into the heart of a painter and the minds of those trapped working the graveyard shift at a 24-hour supermarket. Along the way, women get naked, couples fall in love, and teams lose pickup soccer games 26-to-nothing. Cashback isn't daring or ambitious but, despite its uneven tone and occasional tendencies to meander, it is endearing.
Just when it was starting to look like the concept of a "funny comedy" has gone out of vogue, along comes Pineapple Express and its cinematic cousin, Tropic Thunder. The latter film, which has emerged from the warped mind of Ben Stiller, is a little nastier than the former, but no less hilarious. With a cast that many movies would die for, Tropic Thunder takes no prisoners. It treks into taboo areas and emerges mostly unscathed. The film isn't perfect - it's a little too long and some scenes aren't as funny as the filmmakers think they are - but in an environment where things like The Love Guru and Step Brothers pass for worthwhile entertainment, Tropic Thunder puts a lot of comedy pretenders to shame.
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Anne Fontaine's Nathalie... has taken 2 1/2 years to attain U.S. distribution, and even that will be just a limited peek in select art house venues before a quick turnaround onto DVD. (A medium in which it has been available in France since 2004.) That Nathalie... has received any interest is due in large part to the star power of three of France's biggest names: Gerard Depardieu, Fanny Ardant, and Emmanuelle Beart. The film is exactly what audiences have come to expect from French cinema (and what the generic sterotype predicts): a talky affair where dialogue and character development replace plot and action, with a little tasty nudity thrown in for good measure.
The biggest alien invasion picture of the summer of 1996 is Independence Day. But it's not the first. The Arrival, with a significantly lower budget than Fox's July 3 release, has that distinction, and, while this particular film doesn't boast any radical or surprising ideas, it combines numerous familiar plot elements into a suspenseful, entertaining whole. Best of all, perhaps, is the realization that some thought went into writer/director David Twohy's script. This is not a dumb movie; in fact, with its heavy reliance upon real science, it's startlingly credible.
Election becomes the first droplet in the recent deluge of teen comedies to score a palpable hit. In the wake of Can't Hardly Wait, She's All That, Never Been Kissed, and about a dozen others, Election arrives like a desperately needed cool breeze on a hot summer night. The film, directed by Alexander Payne and written by Payne and Jim Taylor (based on Tom Perrotta's novel), is smart, funny, and possessed of a razor-sharp edge. It perfectly captures the spirit (if not the particulars) of the high school years in general, and student council elections in particular. A quartet of solid performances only adds to the movie's strength.
Crimson Tide is a white-knuckler with a cop-out ending. It's a thrill-a-minute ride that concludes with a whimper, like a roller-coaster that has all the drops and twists early. Make no mistake, this is a good source of early summer fun, but with a little extra imagination, it could have been a whole lot more. There seems to be a mentality in Hollywood to settle for something once it reaches a certain acceptable entertainment level. Why take a chance and "push the envelope"? Crimson Tide is a perfect example of this sort of thinking.
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Children of Men
It is 2027 and no children have been born in the world for 18 years, due to a genetic fertility defect in women. With the world collapsing, only the United Kingdom remains with millions or even billions of asylum seekers entering the country. In response, Britain becomes a militarised police state as British forces round up and detain immigrants. Former activist and now office worker Theo Faron (Clive Owen) is kidnapped by an immigrant rights group known as "The Fishes", where he is surprised to see their leader is his estranged wife Julian Taylor (Julianne Moore). The couple parted ways after their son died from a flu pandemic in 2008. Julian offers Theo money for a permit for a young female refugee named Kee (Clare-Hope Ashitey), which Theo obtains from his cousin Nigel (Danny Huston), a minister. However, it requires the bearer to be accompanied, so Theo agrees to escort Kee in exchange for a raise. Luke (Chiwetel Ejiofor), a Fishes member, drives Theo, Kee, Julian, and Miriam (Pam Ferris), a midwife, towards the coast to a boat. They are ambushed by an armed gang and Julian is fatally shot. Two police officers stop their car but Luke kills them and they escape to a safe house.
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An Iranian-born teenager living in suburban New Jersey thinks of herself as simply an American until anti-Iranian sentiment erupts in her community after American hostages are held in Iran.
In Civil War-era Alabama, a band of outlaws takes refuge at an abandoned plantation after robbing a bank that held a cache of Confederate gold. Led by William, the group includes Sam, Todd, Annabelle, Clyde and Joseph. They intend to flee to Mexico, but nightfall and a thunderstorm force the robbers to remain in place. As the night wears on, each member of the group begins to have visions of the atrocities that occurred within the house. As supernatural forces begin to manifest themselves, the six turn on one another.
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Jamie's Dream School - Season One
Jamies Dream School is a seven-part documentary UK TV series made by Fresh On Productions, first aired on Channel 4. In it, Jamie Oliver tries to get a group of children with fewer than five GCSEs into his Dream School - a school in which lessons are taught by celebrities who are specialists in particular subjects.
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Jungle 2 Jungle
A New York commodities broker who was married several years ago has been separated from his wife. Now he wants to marry his new girlfriend, so he has to divorce her first. So he goes to Venezuela, and is brought deep into the jungle and told that when they separated she was pregnant and chose not to tell him since he stated he was not really interested in becoming a father. Today, the boy has reached the age where he has to go on a quest, in New York, so his father reluctantly brings him along, and a culture clash follows. The boy has spent all of his life with the tribe he grew up with, and his father has a bit of problem so he cant spent as much as time with his son as his son likes.
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