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Oscar-winning director Ron Howard returns to helming more lighthearted fare for the first time since 2000's How the Grinch Stole Christmas with The Dilemma.
The story follows bachelor Ronny (Vince Vaughn), who is riddled with anxiety and doubt over whether to tell his longtime best friend and business partner Nick (Kevin James) that his wife (Winona Ryder) is cheating on him with a young thug (Channing Tatum).
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Takers is in the running for the most unintentionally funny film of 2010. The very definition of a cheesy B movie, Takers throws every action film cliche at the screen. Unfortunately that ploy doesn't pay off as half the time you can't actually tell what's happening on the screen. Why? Because once again a filmmaker has opted to use the shaky cam to the point of distraction/nausea, zooming in and out of shaky close-ups and always seeming to be a frame behind where the action really is.
Open Water 2: Adrift
Who knew you could build a movie franchise around people just floating in the ocean?
Open Water 2: Adrift is in no way a sequel to the original Open Water, except that both feature people bobbing helplessly in the water. In the original, the sharks get them (more or less) after one couple's SCUBA charter leaves them behind. In this follow-up, six Gen-X'ers jump off a luxury yacht and into the water... but *d'oh!* no one put the ladder down, so they can't get back aboard. How will they get aboard? Well aside from the obvious (which occurs to them at the very end), they'll try everything from jumping in the water to making ropes out of bikini tops.
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All things considered, a new version of the Coen Brothers’ 1984 dusty film noir “Blood Simple” by an acclaimed Fifth Generation Chinese director was never going to be particularly high on the list of most obvious remakes. Still, with the director in question being Zhang Yimou, whose fascinating career has seen him shift from works of humanism and social relevance to grandiose martial arts epics, the proposition is certainly an interesting one. Having spent a considerable amount of time working on the opening ceremony of the 2008 Beijing Olympics, and given that he is in the middle of a vague phase of reinvention, the film does mark a change of direction for Zhang, not least since it had a considerably lower budget than most of his previous outings. As well as enjoying a positive response international festivals, being nominated for the prestigious Golden Bear at Berlin, it was a big hit with domestic audiences, pulling in over 250 million yuan at the Mainland box office, where it was released under the wackier though not inaccurate title of “A Woman, A Gun and a Noodle Shop”.
The film actually sticks pretty closely to “Blood Simple”, revolving around a small noodle shop in the remote desert of the Gansu province, run by the aging Wang (Ni Dahong, “The Message”), whose unhappy wife (Yan Ni, “Cow”) is having an affair with young restaurant employee Li (up and coming comedy star Xiao Shenyang). Things come to a head when his wife buys a gun from a travelling foreign merchant, attracting the attentions of the police, including a ruthless officer called Zhang (Sun Honglei), who Wang hires to find proof of her infidelities. Zhang has his own plans, though his scheme to rob the restaurant is complicated by a couple of other restaurant employees who are also trying to get their hands on Wang’s hidden safe.
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When it comes to horror films, there's one basic principal to consider: consistency means everything. A movie can deviate as much as the filmmakers like from the laws of the real world as long as they establish and adhere to an alternate set of rules. Movies like Mirrors fail utterly in part because the rules are arbitrary, unclear, and seem to change depending on what the director wants to achieve in any given scene. As a result, the narrative rarely makes sense, seems contrived beyond a level for which the "willing suspension of disbelief" can apply, and is impossible to buy into. Such inconsistency makes Mirrors appear illogical and dumb, and director Alexandre Aja's inability to delineate credible or interesting characters results in 110 wasted minutes for anyone unfortunate to wander into an auditorium where this is playing.
Collateral is a classic example of how casting against type can sometimes result in a remarkable success. Here we have Tom Cruise, who has spent the majority of his career playing the good-looking, likeable, action/romantic lead, placed into the role of a grungy (graying hair and lots of stubble), soulless sociopath with penchants for existentialism and jazz. Then there's Jamie Foxx, the TV-weaned comedian of "In Living Color" and "The Jamie Foxx Show," who plays a low-key, meek cab driver caught in a web spun by a capricious whim of fate. And, despite being so far from their respective, familiar acting backyards, both of these performers pull it off. Cruise is chillingly credible as the cold, cruel Vincent. And Foxx shows unexpected depth and humanity as Max, whose night encapsulates the cliché about being in the wrong place at the wrong time.
Jamie Foxx has had a great year this year. Starring opposite Tom Cruise in Collateral, the first movie of his to gross over $100 million, and then to follow it up with arguably the best performance of the year in Ray. When Jamie Foxx is on screen, you do not see Jamie Foxx as Ray Charles, you see Ray Charles. The transformation is made complete by the way Jamie Foxx was able to emulate not only the look but also the mannerisms, diction, and style of Ray Charles.
Fortunately, Foxx's acting is not wasted on the rest of the movie. Ray Charles had a very interesting life and had to overcome many hardships that translate well to film. Ray's life touched many people and the resulting large cast of supporting actors all give good performances.
As with Ray's life, the movie is filled with music. The majority of the singing done in the movie is archival recordings of Ray Charles. Jamie Foxx does sing however, and it is impossible to tell where. The soundtrack is an impressive list of Ray Charles' hits that flow seamlessly through the narrative of his life.
People vs. Larry Flynt
Larry Flynt, the self-proclaimed king of smut, as an American hero? Unlikely as it may seem, that's the scenario set up and successfully pursued by Milos Forman's (One Flew Over the Cuckoos Nest, Amadeus) latest venture, The People vs. Larry Flynt. While this movie doesn't say anything that we haven't learned in high school civics classes, it gives names and faces to the subjects, and they're not portrayed by the likes of Henry Fonda and James Stewart. Instead of "righteous" men stepped upon by the system, we're presented with a person who has been demonized not only by the religious right, but by the mainstream press. Nevertheless, when Larry Flynt won his case before the Supreme Court in 1987, we all emerged victorious. His wasn't just a fight for his own rights, but a battle for everyone who cherishes the freedoms afforded by the First Amendment.
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With his third directorial effort, Kenneth Branagh (who has already done the Shakespearean Henry V and the noir thriller Dead Again) sets his sights a smaller sort of picture. Peter's Friends is a slice-of-life movie that illustrates the reunion of six once-close friends ten years after their last get-together. Needless to say, each of them has changed in many ways, and not always for the better.
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It seems strange to watch Mrs. Doubtfire and not see Dustin Hoffman. This is, after all, a variation on Tootsie meets Kramer vs. Kramer, both of which featured Hoffman. Here, it's Robin Williams fighting for custody of his children, while donning high heels and a brassiere at the same time.
In terms of plot, the film is rather feeble, but sometimes there's more to a movie than story, and this is one of those rare occasions when all the other elements pull together and lift the production. Mrs. Doubtfire is great fun. Strictly speaking, it's not a top example of movie making, but it offers two hours of undeniably solid entertainment, and not too many viewers can argue with that.
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The AbsentMinded Professor
One of Disney's most entertaining forays into live-action, this hit family comedy stars Fred MacMurray as a college professor so forgetful that he missed his own wedding twice. He creates an extremely resilient flying rubber, dubbed "Flubber," and manages to make his old Model-T bounce all the way to Washington, DC, where it is mistaken for a UFO, as well as helping the college basketball team win the big game with Flubber-powered sneakers. MacMurray is a lot of fun in the title role, ably supported by a cast including Tommy Kirk,
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After a series of disturbances caused by instability in the Earth's electromagnetic field, leading geology expert Dr. Josh Keyes (Aaron Eckhart) and fellow scientists Serge Leveque (Tchéky Karyo) and Conrad Zimsky (Stanley Tucci) learn that the Earth's molten core has ceased its rotation. Within a year, the Earth's electromagnetic field will collapse, irradiating the planet. The three develop a top-secret plan with the United States government to bore into the Earth's core and plant a series of nuclear charges at precise points to restart the core's motion and restore the field. They design a multi-compartment vessel called the Virgil with the help of Ed "Braz" Brazzelton (Delroy Lindo), who has developed both a laser capable of quickly boring through rock and a material known as "unobtainium" suitable for the vessel's hull. Keyes also enlists the help of a young computer hacker, Theodore Donald "Rat" Finch (DJ Qualls), to keep any word of the potential global disaster off the Internet for fear of causing a worldwide panic.
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Pat Baker is a small town sheriff. His son, Kurt, is a deranged young man with a dark secret. Sheriff Bakers worst nightmare comes true when Kurt escapes from a psychiatric hospital where he was locked away for the brutal murder of his mother thirteen years earlier. Gary, a hospital security guard, sets out into the woods to stop him, but soon finds himself relentlessly hunted by the deranged psychopath intent on killing him and anyone who crosses his path. Sheriff Baker launches an intense search to find his son, only to discover that his daughter, Sara, and her friends are camping in the same woods where Kurt has escaped. Kurts psychosis escalates, as does his vengeful killing spree, culminating in a terrifying, climactic confrontation with Kurt, the sheriff and his family.
City of Motherly Love
Young overworked, underpaid, Ashley Freeman, caught in a struggle against time, faces the hardships of being a single parent to her son, Davie. In a tragic turn of events her son is killed leaving her left with nothing more then what she had previously desired most, time. But time now is filled with the torments of the abandonment of her sons father, the sudden and violent death of her only child, and a shattered past, which ultimately becomes a twisted race she must endure to rescue her own life.
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Tony Garnett, one of British televisions most critically acclaimed figures, has been responsible for producing some of the most radical and controversial UK drama, and is associated with ground-breaking directors such as Ken Loach. His directorial debut, Prostitute, is the tale of two women - Sandra (Eleanor Forsythe), an ambitious but nave Birmingham working girl who moves to London with the hopes of securing wealthier patrons, and Louise (Kate Crutchley) her social worker friend who is fighting to change the antiquated and hypocritical prostitution laws. As both strive to achieve their goals, a cold dose of reality dashes their hopes, and the built-in biases against women in society are unmasked. This frank and controversial expos is finally presented here fully uncut and uncensored.
The Lake sisters - Brielle, Kelly and their step-sister Samantha - receive a surprising inheritance from their unknown grandfather that has just died. Brielle and Kelly join a group of friends and travel in a RV to visit the Lake Motel and decide what to do with the property. Sooner they finds that their unknown relatives are deranged psychos.
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