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'Superbad' for girls? A Gen-Y John Hughes nod? It's hard to say. 'Easy A' isn't quite the A-grade comedy that we were hoping for; the trailer was a corker, the cast is air-tight and the setting is familiar and digestible enough to crack through to the mainstream. In fact, 'Easy A' delivers all these elements – and it's genuinely funny.
However, 'Easy A' also takes the path of least resistance through a story that is too familiar to begin with – to the point where the film knowingly references '16 Candles' and 'The Scarlet Letter' – as if to diffuse any kind of cynical parallel the audience might draw.
Will Gluck directs with a style arguably more in line with his television-producer roots. His only other theatrical director credit is the mediocre 'Fired Up' – a similarly-toned teen comedy that, unsurprisingly, also hinges around disaffected teen stereotypes scraping out their lives in high school hell. To this end, 'Easy A' feels more honest – and even a little emotionally deeper – than most teen-angst comedies. That said, it's a far cry from the tight scripting and shock-comedy value of Judd Apatow-produced 'Superbad'.
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Hollywood has a long history of showing us charming "golddiggers" in film, whether they're cute Depression-era heroines trying to get a free meal, a trio of Fifties fashion models scheming to land rich husbands, or soft-pedaled prostitutes of either gender. In Spread, the golddigger is a young man, much like Joe Buck in Midnight Cowboy if he'd succeeded in his original plans, but unfortunately not debonair or complex enough to overcome the feeling that the movie is more sordid than sweet or sharply comic.
With all due respect to the monumentally talented Frank Miller, I'm just going to lay it out clear: I don't think the man is cut out to direct movies. At all. I've always suspected that Mr. Miller earned a co-director credit on Sin City because A) it's his baby, B) having Miller involved helps the film come release time, and C) Robert Rodriguez is a classy dude. But have you ever wondered what Sin City would look like if Rodriguez was out of the picture? Wonder no more, comic fans: Frank Miller has directed a film all by himself ... and it really isn't good.
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A noir horror movie of the most un-classic kind, Brad Anderson's The Machinist takes you into the unstable mind of an insomniac with a dark secret whose life has become a bleak emotional wasteland devoted only to going through the motions of working. Blessed with an extraordinary performance by Christian Bale, this movie plays out like a nightmare, and will remind some viewers of Fight Club, Memento, and Insomnia. Although The Machinist may at times seem to be derivative of those films, and is inferior to them, it is nevertheless a harrowing experience for those to whom this sort of story appeals.
Bale's Trevor is, as the title implies, a machinist at an assembly-line factory. He clocks in every morning, then clocks out every afternoon, keeping basically to himself. When he returns from work, he does nothing more remarkable than frequent an airport diner where he converses with the same waitress (Aitana Sanchez-Gijon) on a daily basis, or visit his "regular" prostitute, Stevie (Jennifer Jason Leigh). But something strange is happening. A mysterious man named Ivan (John Sharian) is haunting him, and he is having strange visions. The question is whether these are figments of a deranged imagination or part of a larger external conspiracy to drive him insane. How much of what is happening is transpiring within Trevor's psyche? Who, if anyone, is real? Why has the clock stopped at 1:30? Why is the refrigerator bleeding? (And why does Ivan look like Marlon Brando from Apocalypse Now?)
Leo Tolstoy (Christopher Plummer), or - more properly - Lev Tolstoy, is one of the two best-known 19th century Russian authors. His masterpieces, War and Peace and Anna Karenina, are required reading in many high school and college literature classes, and both have received multiple screen adaptations. For the casual reader, however, less is known about the author than his projects. The Last Station seeks to rectify that, at least insofar as the writer's final year is concerned. Based on Jay Parini's semi-fictional novel of the same name, The Last Station transformers Tolstoy's waning days into material worthy of one of his tragedies while simultaneously making a biting statement about how the politics of a "movement" often warp the underlying philosophy which caused it to develop.
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In 1954 Queens, New York, three brothers -- Mac (John Turturro), Vico (Michael Badalucco), and Bruno (Carl Capotorto) -- after having a few bad experiences working for others, decide to band together and create their own construction business. Their first major project, building four houses, requires such devotion and painstaking effort that it pushes their close relationship to the breaking point.
This is what happens when someone takes what might have been a moderately-entertaining television Christmas special and tries to adapt it for the big screen. The Santa Clause isn't an unmitigated disaster, but it's also a whole lot less impressive than it could be. The release date -- six weeks in advance of the actual holiday -- should be reason enough for skepticism. Was this perhaps an attempt to beat John Hughes' Miracle on 34th Street to the theaters?
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Let me preface my review of Jean-Claude Van Damme’s new movie, The Order, by saying that I hate chases that takes place in movies. I generally don’t like car chases, people chases, or even spaceship or airplane chases. Why?
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I don’t know who Bob Gale is, but I’ll wager that he’s an old Hollywood hand. He’s probably been around Hollywood films for most of his life, which may explain how he was able to get big name stars like Michael J. Fox, Kurt Russell, Chris Cooper, and Ann-Margaret to play cameos in his small movie, “Interstate 60″. Of the four, only Cooper (“Adaptation”) has a major cameo — which in this cases means he lasts for more than one scene.
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Owen Baker (Liam Aiken) is a 12-year-old loner who has been working as the neighborhood dog-walker so he can earn the privilege of getting a dog of his own. Owen's hard work pays off when his parents, Mr. and Mrs. Baker (Molly Shannon and Kevin Nealon), let Owen adopt a scruffy Border Terrier that he names Hubble (voice of Matthew Broderick).
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Belly of the Beast
While hiking in Thailand, Jessica and her friend Sarah Winthorpe (MacQueen) are kidnapped. A group of Islamic fundamentalists known as the Abu Karaf claims responsibility. Sarah is the daughter of United States senator John Winthorpe. The Abu Karaf demand the release of 20 prisoners from American custody.
Tom Collins (McDougall), an ex-colleague of Jake's, recognizes Jessica on the ransom tape, and he tips Jake off. Jake knows that he must rescue the girls himself. An old CIA buddy puts Jake in contact with Leon Washington (Patrick Robinson), an active CIA agent who is working in Thailand. Jake goes to Bangkok, and escapes an assassination attempt by unknown forces.
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A jock is seen carrying a bundle of flowers. He creeps into the house of his supposed girlfriend. It is cold inside and he finally approaches his girlfriend's room where he sees a dead man with his mouth wide open. He looks to the side and there are two more corpses.
Flirting with Forty
Jackie Laurens (Heather Locklear) is a recently divorced, 40-year-old and mother of two pre-teen kids who takes a vacation alone to Hawaii where, against her better judgment, she meets and hooks up with a hunky, much younger resident surf instructor named Kyle Hamilton (Robert Buckley). But what began as a one-night stand turns into love as when her vacation is done, she flies to Hawaii every chance she gets to meet with her latest love interest, which soon gets disapproval from her ex-husband, her teenage kids, and even her close friends. As time and the pressure from everyone around her to break it off with Kyle pushes Jackie to her breaking point, it will only take her beau Kyle to teach her how to cope before life passes her by.
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An Indian kickboxer defeats a Pakistani kickboxer in an international tournament. But the event ends in a tragedy due to the Pakistani players intemperance. Will the peace process, initiated by the two countries lose its momentum, specially when the Indian hero's brother is determined to avenge his family, and country during a second international bout that is being held in Lahore this time?
Le Donk & Scor-zay-zee
An improvised comedy, shot over five days by Shane Meadows, devised with and starring Paddy Considine. Rock roadie and failed musician, Le Donk has lived, loved and learned. Along the way hes lost a girlfriend but he has found a new sidekick in up-and-coming rap prodigy Scor-zay-zee. With Meadows fly-on-the-wall crew in tow, Donk sets out to make Scor-zay-zee a star...with a little help from the Arctic Monkeys... This low-budget rockumentary follows Le Donk and Scorz on their journey of a lifetime its an unpredictable, irrepressible ode to spontaneous filmmaking - and to a burgeoning UK rap talent.
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When Catherine Morland is given the opportunity to stay with the childless Allen family in Bath, she is hoping for an adventure of the type she has been reading in novels. Soon introduced to society, she meets Isabella Thorpe and her brother John, a good friend of her own brother, James. She also meets Henry Tilney, a handsome young man from a good family and his sister, Eleanor. Invited to visit the Tilney estate, Northanger Abbey, she has thoughts of romance but soon learns that status, class and money are all equally important when it comes to matters of the heart.
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