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The Roommate follows Sara (Minka Kelly), an Iowa girl who has moved to Los Angeles to study fashion at college. She's assigned a roommate, a wealthy Pasadena art student named Rebecca (Leighton Meester). At first, they seem like they're going to be BFFs. But quicker than you can say Single White Female, Rebecca soon starts to show her crazy true colors.
Rebecca has developed an obsession with Sara, and begins to target those people -- other friends, love interests, professors -- she feels are taking Sara away from her. Needless to say, the situation ultimately deteriorates from the uncomfortable to the dangerous.
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Darren Aronofsky is not what you could consider a mainstream director. His movies are visually stunning, intellectually and emotionally challenging, and generally hated by the audience. It takes dedication to make it all the way through an Aronofsky film, something few movie-goers are willing to do. His latest offering, The Fountain, isn't any different in that respect, but if you grant Mr. Aronofsky the luxury of your full attention and bring a little something of yourself to the watching, there's a good chance you'll be rewarded for your effort.
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1968 Tunnel Rats
The year is 1968 and a new group of recruits have arrived at an isolated U.S. Army camp in the Vietnamese jungle. They will be expected to flush out the enemy from the vast network of tunnels the Viet Cong have created under the ground, but first they have to get used to the terrible food the're expected to eat, and face up to their brutal sergeant (Michael Paré), never mind the possible fate at the hands of the opposing army. The sergeant has ordered a prisoner they have captured to be executed, something the troops have little stomach for, but this is merely part of the ongoing horrors of war...
What's this? An Uwe Boll film not based on a computer game? Yes, it's true, for this was a Vietnam War movie based on a story by Boll's regular producer Dan Clarke, although scripted by the notorious co-producer and director. In essence this was his version of Platoon, and looks very similar to that spate of eighties works on this subject, with plentiful swearing, bloody death and a supposedly clear-eyed and regretful look at the conflict. Funny thing with this is that although we get a fairly good idea of the camp and the tunnels, you're less convinced that there is any extensive combat going on elsewhere.
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Christmas movies and dysfunctional families go together like hands and gloves. Whether a comedy or a drama, from the absurd to the sublime, Christmas trees are often coupled with family divisions. While films like National Lampoon's Christmas Vacation and the upcoming Four Christmases may play up the humorous elements inherent in divided families, director Arnaud Desplechin has elected for something more emotionally potent. A Christmas Tale is not devoid of humor - in fact, there are times when the irony is thick and unavoidable - but this is most definitely not played for laughter. And, while it's not the complete downer that the description might suggest, neither is it an uplifting cup of holiday cheer.
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The creative and financial successes of two franchises - Harry Potter and The Lord of the Rings - have changed the way in which fantasy is viewed by movie-goers. Once a genre pigeonholed as fit only for Dungeons & Dragons nerds, fantasy has gone mainstream. So why has 20th Century Fox released this embarrassment - whose quality would be dubious for a direct-to-video release - into theaters? Eragon, based on the inexplicably popular by-the-numbers fantasy novel written by then-teenager Christopher Paolini, is a throwback to the Dungeons & Dragons movie crapfest of 2000. It's hard to imagine anyone having the patience to sit through this movie except perhaps a handful of 11-year old boys seeking vicarious wish fulfillment.
The Producers is a movie based on a play based on a movie about a play. And that's probably the funniest thing about it.
In 1968, Mel Brooks made his big-screen directorial and writing debut with The Producers, a slapstick farce about how two Broadway producers concoct a scheme to get rich by making the worst play in the history of the Great White Way. Predictably, what should be a colossal failure turns out to be a smash hit. Despite a delightfully wicked premise and a couple of delicious lines, The Producers is not on par with Brooks' other early films. It's not consistently clever or funny, and there are long, tedious stretches when one obvious joke after another falls flat. Brooks would hit his stride six years later with Blazing Saddles and Young Frankenstein. The Producers shows little of the humor evident in those (and other) movies.
Midnight in the Garden of Good and Evil
One thing is certain about Clint Eastwood: he doesn't play it safe. Two years ago, he surprised just about everyone (and gave his fans a collective apoplexy) by directing and starring in an ultra-sensitive tearjerker called The Bridges of Madison County. Now, following a romp through more familiar territory in Absolute Power, Eastwood the director is back with this slow, moody adaptation of John Berendt's novel, Midnight in the Garden of Good and Evil. It's a compelling but meandering tale of lust, murder, sex, voodoo, and betrayal. Despite the presence of so many titillating elements, the film's nearly somnambulant pace makes it easy for a viewer to lose his or her concentration.
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For the first time in more than a decade, teen films are all the rage. Stars from TV shows like "Dawson's Creek" and "Party of Five" are crossing over to the big screen in droves, resulting in such lackluster fare as Can't Hardly Wait and She's All That. With a built-in audience of millions who hang out at multiplexes every Friday and Saturday night, these movies, despite being lackluster and underwritten, are guaranteed money-makers. They all use similar formulas - variations on the themes that John Hughes toyed with in the '80s. Every once in a while, however, a teen film comes along with a dark streak and something of an edge. In 1989, it was Heathers. Now, in 1999, it's Jawbreaker.
With its kinetic style, visceral approach, compelling storyline, and powerful social message, Fight Club makes a commanding case to be considered the '90s version of A Clockwork Orange. In a time when so few motion pictures leave an impact, Fight Club refuses to be ignored or dismissed. The experience lingers, demanding to be pondered and considered, and, unlike 95% of modern-day thrillers, there is a great deal here to think about and argue over. Fight Club presents an overload of thought-provoking material that works on so many levels as to offer grist for the mills of thousands of reviews, feature articles, and post-screening conversations.
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Robert L. Pike's crime novel Mute Witness makes the transition to the big screen in this film from director Peter Yates. In one of his most famous roles, Steve McQueen stars as tough-guy police detective Frank Bullitt.
The Fourth Angel
An ordinary man remakes himself into a warrior after the death of his family in this thriller. Jack Elgin (Jeremy Irons) is a magazine editor living in London with his wife and three children. Elgin joins his spouse and his children as they set off for a trip to India, and when the plane lands due to mechanical failures, the flight is hijacked by terrorists from the "August 15th Movement," who insist on 50 million dollars in ransom from the United States government.
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Jack employs his younger brother Cal to work as a bouncer at his new club, which attracts the likes of Jools, Kathleen and Pedro. Feeling that hes living in Jacks shadow, Cal sets fire to his brothers fiancees wedding dress, accidentally burning down the club as a result - Cal goes on the lam. Meanwhile, Tatty witnesses a statue coming to life in a burnt out church. Called Amy, she only has a short amount of time on this earth, she must recieve a kiss from her true love between midnight and sunrise. Cal appears to be her ideal suitor, but he dosent know that her time is running out.
A psychic finds herself tapping into the energy of a deceased phone operator. She also finds that her friends soon begin dying mysteriously. An investigator determines to track down the cause.
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When Suzie and her parents take a visit to Japan her fathers business partner, an inventor called Tetsuro decides to make Suzie a robot. The robots name is Too Much (or TM for short) and he and Suzie become the best of friends. But when the day comes for Suzie to return home she finds shes not allowed to take TM with her, so they run away together. However, they must watch out for a rival inventor of Tetsuros is looking for them so that he can examine TMs programming. Will TM and Suzie manage to escape from his clutches and prove that love conquers all?
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Drop Dead Gorgeous
In a small Minnesota town, the annual beauty pageant is being covered by a TV crew. Former winner Gladys Leeman wants to make sure her daughter follows in her footsteps. Explosions, falling lights, and trailer fires prove that. As the Leemans are the richest family in town the police are pretty relaxed about it all. Despite everything, main rival (but nice) Amber Atkins wont be stopped. There could well be more death and disappointment to come.
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Based on Gregory Lambersons novel JOHNNY GRUESOME When high school heavy metal rebel Johnny Grissom is murdered by a coke head, he returns from the grave as Johnny Gruesome, the Headbanger from Hell!
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