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Probably the only thing that people are wondering about the Wayans’ Dance Flick is whether it’s closer to Don’t Be a Menace or White Chicks. Unfortunately, I’m pretty sure everyone already knows the answer. For whatever reason, the Wayans’ brand of comedy has fallen off from the Ivory tower it was perched on in the mid-90s. Maybe time has passed them by while failing to innovate, maybe they stepped too far back from the cutting edge, maybe having every member of their family contribute creatively waters down the humor. Who knows. What’s for sure is that Dance Flick falls flat.
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Despicable Me falls somewhere in the middle range of animated films targeted at kids, featuring none of the delirious wit of How to Train Your Dragon and Cloudy With a Chance of Meatballs and certainly not the outright Pixar genius, but also absent the mindless pandering and obvious plotting we all fear in children's films. With a smart concept, some clever gags and well-choreographed action it moves along nicely, but it also squanders considerable voice talent and doesn't really take advantage of the twisted world it successfully creates. You get the feeling that a darker and more clever Despicable Me may have existed at some point before the studio, still trying to break into the animated market, defaulted to the safe side.
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War of the worlds
There's a longstanding movie riddle that asks the following question: Is it better to have a mediocre director and a great screenplay, or a great director and a mediocre screenplay? War of the Worlds, Steven Spielberg's entry into the 2005 summer box office derby, can be used as an argument for the latter scenario. To call the script (credited to Josh Friedman and David Koepp) "flawed" might be charitable. The original novel, penned in 1898 by H.G. Wells, seems almost quant by today's standards. Although the changes employed by Friedman and Koepp to modernize the story are adequate in displacing many of the book's events to a contemporary time frame, they result in a tale that is rife with logical errors. War of the Worlds is not watertight; in fact, it leaks like a sieve. But, with Spielberg at the helm, we hardly notice the chop in the water as we're taken on a smooth and somewhat breathless ride.
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Every time a new film or television adaptation of Emily Brontë’s Wuthering Heights is announced, it seems that at least one writer espouses the opinion that maybe, just maybe, Wuthering Heights is one of those novels that will never be able to be adapted successfully at all. The narrative frame is too complicated — the characters are too morally deficient — the passions are too wild and the revenge is too off-putting. It just won’t translate to the screen, big or small.
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Harry Potter and the Deathly Hallows: Part 1
So the end of the journey is here. Well nearly, because as with the forthcoming Twilight and Hobbit adaptations, Harry Potter and the Deathly Hallows has been split in two, Part 1 hitting this Christmas and Part 2 concluding the saga next summer.
The filmmakers claim that the decision was taken to do justice to J.K. Rowling's lengthy final tome, and while it does allow the audience to spend more time with these beloved characters at this most significant time, one can't escape the feeling that Part 1 is all set-up and no pay-off, resulting in a somewhat empty cinematic experience.
Director David Yates -- helming his third Potter flick -- clearly revels in the additional hours afforded him, taking his time to set the scene for the story's big finale.
He builds an oppressive sense of melancholy from the off, with Harry, Ron and Hermione preparing to leave home, perhaps for the last time. In a particularly touching scene, only alluded to in the book, Hermione removes her parents' memories of their only child to protect them for the inevitable, fast-approaching war.
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Touching the Void
Truth, they say, is stranger than fiction… and also potentially more nail-biting and harder to believe. Touching the Void is an extreme example of this - a man versus nature epic so amazing that, if it was presented in a strictly narrative format, viewers would doubt its veracity. To capture this story in a way that would do it justice, British filmmaker Kevin Macdonald (the documentarian responsible for One Day in September, about the terrorist attack on the 1972 Israeli Olympic team in Munich) has blended elements of docudrama and documentary into a satisfying whole that will keep even the most stoic movie-goer gripping the armrest throughout.
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If Rob Cohen's name wasn't attached to this project, I would swear it was the work of Michael Bay. It has all of the crowd-pleasing director's trademarks: plastic characters, chaotic camerawork, lots of things blowing up, and an incredibly dumb screenplay. In short, it represents a great time at the movies for anyone who has recently undergone a frontal lobotomy. No wonder the guy sitting next to me started surfing the Internet with his blackberry less than half-way through this loud, frenetic snooze-fest.
It must be that I just don't get French humor, or at least not of the sort that attracts French movie-goers to theaters like bugs to bright lights. Several years ago, The Visitors became one of the top homemade box office successes in French history. It was hailed as one of the funniest films of all time, yet I was underwhelmed (and, judging by its dismal performance here, so were most North Americans). Now, The Visitors has been toppled from its perch by The Dinner Game, a modestly budgeted effort from filmmaker Francis Veber, whose previous credits include directing Les Comperes (U.S. remake title: Fathers' Day) and writing La Cage aux Folles (U.S. remake title: The Birdcage). Reports from overseas claim that one in every six French citizens has seen this movie. Those are Titanic numbers, yet the film doesn't really live up to expectations. Yes, there are times when the comedy works, but the number of genuinely amusing sequences are outnumbered by those that, in trying to generate laughter, simply seem silly.
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In an empty conference room on the forty-sixth floor of Los Angeles' Nakatomo Tower, the dead body of a beautiful young call girl has been found sprawled out on a table. When Lieutenant Tom Graham (Harvey Keitel), the racist cop in charge, has trouble obtaining the full cooperation of the Nakatomo execs, Special Services liaison Lieutenant Web Smith (Wesley Snipes) is summoned for help. Along the way, Smith receives a call on the car phone telling him to pick up Captain John Connor (Sean Connery), a man known to be well-versed in Japanese traditions and, in the opinion of some, a Japanese sympathizer. Nothing about this investigation is straightforward, but as more is revealed about the details of the case, Connor and Smith find themselves "in the warzone" of a business battle in which life is a commodity easily lost.
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Love Lies Bleeding
Duke (Brian Geraghty) and Amber (Jenna Dewan) are a financially strapped young couple, both working menial jobs to survive, while their gangster neighbors continue to steal Duke and Amber's things. One day Amber gets home and finds the neighbors in the house, stealing a few things. They beat her up and leave. Duke gets home and finds her, and is so angered he goes out and purchases a gun. Meanwhile, a corrupt DEA Agent named Pollen (Christian Slater) is after a cache of dirty money that belongs to him. He tracks it back to the house Duke's neighbors live in and gets there before Duke does. There is a shootout, and Pollen is injured. Duke arrives and finds the aftermath, and the money. Duke takes the money, believing that it will mean a better life for himself and Amber. Pollen tries to stop him, but passes out due to his injuries.
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Balls of Fury
A disgraced former ping pong champion is drawn back into the world of high-stakes table tennis to carry out a top-secret mission in the feature directorial debut of Reno 911! writer/director Ben Garant. Far removed from the rigidly regulated world of professional sports, clandestine ping pong tournaments offer thrilling competition where only the strong survive.
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When Jake LaMotta steps into a boxing ring and obliterates his opponent, hes a prizefighter. But when he treats his family and friends the same way, hes a ticking time bomb, ready to go off at any moment. Though LaMotta wants his familys love, something always seems to come between them. Perhaps its his violent bouts of paranoia and jealousy. This kind of rage helped make him a champ, but in real life, he winds up in the ring alone.
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God Told Me To
A rash of mass murders in NYC has the detective stumped. When asked why, all the perpetrators say God told me to, then kill themselves.
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After her mothers death, a young girl is separated from her abusive father and is sent between her various friends and relatives, always longing to find a place to call home.
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Shattered windshields. Twisted wreckage. Last Exit is an action-suspense drama that tells the parallel stories of two ordinary women - one, a single mother barely supporting her handicapped son, and the other, a working mom precariously balancing her family with a high-pressure career - on one extraordinary day. Each womans life frays under the weight of her circumstances and spirals out of control. As police officers race to save them, pieces of a shattered puzzle fall into place - maybe this wasnt just a tragic car accident after all. Both women fight for their lives, but ultimately, only one will survive
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When Captain Amazing (Kinnear) is kidnapped by Casanova Frankenstein (Rush) a group of superheroes combine together to create a plan. But these arent normal superheroes. They are individuals who are not good enough to be real superheroes. Now, the group who include such heroes as Mr. Furious (Stiller), The Shoveller (Macy) and The Blue Raja (Azaria) must put all the powers together to save everyone they know and love.
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