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Based on the DC Comics gunslinger, Jonah Hex follows the eponymous scar-faced bounty hunter (Josh Brolin) as he is enlisted by President Ulysses S. Grant (Aidan Quinn) and Lt. Grass (Will Arnett) to track down the terrorist Quentin Turnbull (John Malkovich), a former Confederate officer hellbent on destroying the U.S. government. Hex is already out for revenge against Turnbull for slaying his wife and child and leaving his face grotesquely disfigured. Now he can kick his ass for America, too!
Jonah Hex could have made for a hell of a movie if done well, but instead it turned out to be one hell of a mess. Its notorious reshoots aside, the film's clearly had a tomahawk taken to it in the cutting room resulting in a movie that, at a mere 81 minutes, is the epitome of barebones. This is a movie that apparently lacked a uniform vision from its inception of what it should be tonally. It's part spaghetti western, part supernatural tale, part action film, part black comedy and doesn't quite work as any of them.
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The Kid is a true story of one who rises from abject poverty to stability and success, although it is not the typical Hollywood rags to riches tale.
The opening sees Kevin (Rupert Friend in a cagey nuanced performance) thrown out of the back of a van, hobbling towards a filthy bedroom as the credits are projected on each surface as graffiti. He attempts suicide with a smattering of pills, washing them down with spirits, he reflects on his life; his earliest memory of abuse. As a child right through adulthood Kevin is dealt a terrible hand and as he tries to survive and make something out of himself, things always get in the way, including the after-effects of his traumatic past.
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Whatever his faults as a filmmaker may be, Kevin Costner certainly understands the Western. Although Open Range is not on the same level as Dances with Wolves, it's a respectable effort that is only slightly marred by the unnecessarily protracted denouement. This is a great two-hour motion picture. Unfortunately, it runs 20 minutes longer than that.
Like most recent Westerns (not that there are an abundance to choose from), Open Range belongs to the "revisionist" category, which is to say that it turns some of the Western conventions upside down. In this film, it's pretty clear who the protagonists are, but they're not morally upright gunslingers wearing white hats. They have pasts that haunt them, and aren't beyond killing for a less-than-pure motive like revenge. Also, the centerpiece gunfight is as chaotic, unpleasant, and gritty as anything ever committed to film. This isn't two people facing each other on a deserted street with tumbleweeds blowing around. It's quick, brutal, and bloody.
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Pretty Persuasion opens with more promise than it closes with. It doesn't take long for the cattily satirical tone to become monotonous as the characters refuse all attempts at development and the plot treads water into the shallows. The film tries, with sporadic effectiveness, to mine the area where Heathers, Election, and Mean Girls achieved success. But this lampoon of the "haves" and "have nots" of high school never takes off, and, at times, is more mean spirited than comedic. Making it all the more disappointing is the way in which Evan Rachel Wood's bitch-on-wheels performance is wasted.
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Movies about confidence tricksters represent an old, although not necessarily respected, sub-genre of the thriller. Many of these films are cheap and cheesy, with silly plots and "twists" that are shaky and predictable. There are a few notable exceptions, such as The Sting and The Grifters. To that elite list can be added Ridley Scott's Matchstick Men, which has a lot more on its agenda than the protagonists' big score - like redemption and salvation, for example. When the film is finally over, ask yourself who really gained the most. The answer may be counterintuitive, but it's not hard to figure out.
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When a director can take a reprehensible monster and, over the course of a scant 90 minutes, turn audience reaction from distaste to sympathy, that's the mark of an adept filmmaker. This occurs in Tsotsi, an emotionally honest tale of redemption that never forgets there are consequences for bad acts, even when those acts are committed before the arrival of salvation. The film uses a degree of manipulation to make its point, but it is refreshingly light on sentimentality. While aspects of Tsotsi don't ring true, we are nevertheless left with an affecting character study that offers jolts to the system.
Just Like Heaven
With Just Like Heaven, director Mark Waters (Mean Girls) wants to have his cake and eat it to. That's not necessarily a bad thing, until you consider that the recipe used for this confection is missing a few ingredients and the final product is half-baked. And, rather than eating it, he kind of chokes on it. Just Like Heaven tries to be an unholy union of Ghost and All of Me, and the result is rarely humorous, rarely romantic, and rarely affecting. Plus, the suspension of disbelief curve is so steep that even Lance Armstrong wouldn't be able to make it to the top.
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In the Company of Men
In the Company of Men is one of those rarest of rare breeds -- a movie that doesn't just ignore Hollywood conventions, but openly flouts them. The film, which premiered to great critical acclaim at 1997's Sundance Film Festival, initially had trouble obtaining a U.S. distributor (for the record, Sony picked it up). The reason is simple: because of its brutally-direct depiction of certain aspects of the current North American social climate, In the Company of Men is anything but entertaining. It's virtually impossible to sit through this film without suffering bouts of intense discomfort, and therein lies its power.
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The Crow: City of Angels
It is said that when a man dies wrongfully, a crow may bring him back to life to seek vengeance upon his killer. Like the first Crow, this revenge saga is set in a fantastical urban nightmare and is based upon the dark comic book stories of artist James O. Barr. The first film was set in a horrifying Detroit.
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In the late 40s, the swindler Raymond Martinez Fernandez seduces lonely women to steal their possessions. When he meets the deranged Martha Beck, they fall in love for each other. With the jealous Martha posing as if she were his sister, the crook Ray seduces and kills other women. Two New York Detectives - Elmer C. Robinson and Charles Hildebrandt - chase the sociopaths, but without having the evidence of a body. In the end of 40s, the couple is finally arrested and sentenced to death, being electrocuted in March, 1951 in Sing Sing.
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True story about a woman who falls in love with a violent rapist and murderer. Karla Homolka marries Paul Bernado despite already having aided him in the rape and murder of her younger sister. Through their marriage he brags to her about other rapes he commits and involves Karla herself in the sexual assault and murder of three female victims. Told from Karlas point of view.
An ancient stone amulet and calendar disc has the power to stop time. Passed from generation to generation, these magical artifacts end up in the hands of an 18-year-old half Shoshoni Indian named Justin, who chooses to use his power to make the world a better place. But on the other side of the equation is the power-seeking philanthropist, Michael Romano, who seeks to indulge in the riches of the world.
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Foxfire is narrated by Maddie Wirtz, a high school senior living a rather normal life in the suburbs of Portland, Oregon. Maddie is in control of her life, with a boyfriend, and plans to go to art school. One day in science class, the students are watching the teacher Mr. Buttinger try to make Rita Faldes dissect a frog. A mysterious and beautiful leather jacket-clad "new student" stands up to Mr. Buttinger and releases Rita's frog. When Mr. Buttinger sentences them both to detention, the drifter reveals that she's not a new student after all, and escapes through the same window as the frog.
Go Get Some Rosemary aka Daddy Longlegs
After months of being alone, sad, busy, sidetracked, free, lofty, late and away from his kids, Lenny, 34 with graying frazzled hair, picks his kids up from school. Every year he spends a couple of weeks with his sons Sage, 9, and Frey, 7. Lenny juggles his kids and everything else all within a midtown studio apartment in New York City. He ultimately faces the choice of being their father or their friend all with the idea that these two weeks must last 6 months. In these two weeks, a trip upstate, visitors from strange lands, a mother, a girlfriend, magic blankets, and complete lawlessness seem to take over their lives. The film is a swan song to excuses and responsibilities to fatherhood and self-created experiences, and to what its like to be truly torn between being a child and being an adult.
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In Our Name
Suzys a British soldier, born and bred, but fitting back into civilian life after fighting in Iraq isnt easy. Haunted by the responsibility she feels for the death of an Iraqi child, she becomes obsessed with the safety of her own daughter, feeling the need to protect her against a threat that doesnt seem to exist. As Suzys paranoia builds, her behaviour becomes more and more erratic, until finally, she puts her own child in serious danger.
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My Zinc Bed
A recovering alcoholic becomes involved with his bosss wife, a former cocaine addict.Note Only with Swedish subtitles!!!
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