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Ong Bak 2
Ong Bak 2 isn't a movie; it's a videogame. Lacking the elements which generally constitute a film – little things like story or character or performance – Tony Jaa's MMA follow-up is difficult to review in any kind of meaningful cinematic context. It is, one supposes, a performance piece, a wonderfully visual display of martial arts acumen that'll succeed at keeping your rapt attention while ultimately failing to entertain.
This is due in large part to the film's structure, a sequence of grand fights spread out over a number of dynamic locations in which Jaa takes on several waves of inconsequential bad-guys only to defeat the equivalent of that location's "boss." Put a controller in the hands of every theater-goer and you'd have the world's highest resolution action-platformer in place of a watchable action film.
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German filmmaker Tom Tykwer never saw a glass partition he didn’t want to film, yet there’s something bracing about watching his reflex glossiness (see Run Lola Run, Heaven) applied to a pure genre exercise. This particular Parallax View knockoff has been directed with an almost mathematical sleekness: The gods always descend on cue, and the gripping central set piece answers the question “How many people can trail an assassin around the Guggenheim without being spotted?”
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Street Kings: Motor City
In the spring of 2008, a modestly-budgeted cop thriller called Street Kings grossed an equally modest sixty-five million dollars worldwide on the strength of an A-list cast. The ensemble included Keanu Reeves, Chris Evans, Hugh Laurie, and Forest Whitaker. New on Blu-ray is a sequel that bears no relation to the first, other than genre and name. Street Kings 2: Motor City has only one marquee name, Ray Liotta. As the title suggests, rather than the earlier film's Los Angeles setting, this one is set in Detroit. Rest assured, if you haven't seen the 2008 film you won't be lost watching the new one.
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The Dragon Pearl
The Dragon Pearl was really some intriguing for me, not because of the story which we all soon realize there's nothing very special about it, but the fact that up to this very moment, there is only one user review on IMDb and zero amount of critics review... Whow, nobody knows about the movie? Usually that lonely-status of IMDb page only happens to relatively old indie films which mainly concerns about drama. So I decided to pay the admission fee on a lonely Thursday nite to see what this Australian fantasy movie is all about. So here it is...
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Good Bye, Lenin!
There's certainly no shortage of rich threads woven into the tapestry of Good Bye, Lenin! Wolfgang Becker's movie (produced by Stefan Arndt, who has been involved in everything by Tom Tykwer, from Run Lola Run to Heaven) offers the touching story of a devoted son's sacrifice for his mother, albeit with a couple of inventive twists. The story confronts the perversion of perception and the manipulation of reality. And, as if that isn't heady enough material, it tackles the confusing national identity crisis suffered by Germans when the Berlin Wall came down. Like twins reunited after a long separation, there was an awkward re-acclimation process that few films are interested in exploring. (Perhaps it takes a German filmmaker to do the issue justice, or perhaps to even recognize it at all.)
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Based purely on the misleading trailers that herald First Sunday's arrival in theaters, one might be forgiven thinking this is another dumb comedy about individuals characterized by a shortage of brain cells. However, while the film occasionally falls into sit-com traps, it aspires to be more than the marketing clips lead us to believe. This is the directorial debut of noted playwright David E. Talbert, and it mixes comedy with drama to generally good effect. There are awkward moments and the ending feels excessively contrived, but there are things to like about First Sunday, most of which are not hinted at in the trailers and TV commercials.
In a way, it's surprising that the movie was cast adrift into the January wasteland rather than being released before Christmas. The themes of redemption and family that highlight First Sunday are perfect December fare. (One assumes the presence of two African American-centered holiday movies created fears of flooding the marketplace.) At any rate, while First Sunday isn't a home run, it makes more solid contact than what one normally expects from this time of the year.
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Must Love Dogs
Must Love Dogs is a product - a pre-packaged, easily-digestible motion picture designed with one particular audience in mind. You know the kind of film. You have seen it before, usually with names like Nancy Myers or Nora & Delia Ephron involved. Those with ovaries have a better chance of appreciating Must Love Dogs than those with testicles. For some members of the latter group, sitting through this will be akin to having those organs trodden upon. Must Love Dogs is bland and forgettable - a romantic comedy with affable characters and some funny lines, but where love never really takes flight. It fizzles when it should sizzle.
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The Skeleton Key is the latest of the new breed of PG-13 "horror" movies that emphasize atmosphere and "boo" moments over gore. This film, which is not a re-make of a Japanese production (as many of these pictures are), maintains an internal logic that allows the viewer to follow the storyline without becoming confused or losing interest. There are weaknesses - the narrative traverses a predictable trajectory, the pacing is uneven, and there are times when the action goes over-the-top. But the heroine is smarter than the average horror movie scream queen and the ending doesn't cheapen proceedings. (Actually, one could argue that the ending is the best thing about The Skeleton Key.)
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Renny Harlin, whose previous directorial efforts include Die Hard 2 and Cliffhanger, seems fond of big, explosive action pictures. Unfortunately, excepting his debut (the middle film in the Die Hard trilogy), plot coherency hasn't been a particularly important attribute of his movies. Cliffhanger was little more than a series of spectacular stunts linked together by a paper-thin story. If anything, the strands of logic in Cutthroat Island are even thinner. Fortunately, as a spectacle for the eye
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Live Nude Girls
It would be impossible to write a review of this film without discussing the title. How many viewers will see Julianna Lavin's feature debut because it's called Live Nude Girls? And how many will avoid it for the same reason? There's little doubt that the title was chosen for its provocative value, because, although the movie deals with live girls, they're mostly clothed. While there are bared breasts and discreetly-photographed limbs and torsos, most of the nakedness in this picture is of the emotional, not the physical, variety.
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I'd like to say that Bulworth is the best political satire in years, but the truth is that is has tough competition from Barry Levinson's corrosive Wag the Dog in that department. Both films succeed admirably, but, although each takes aim at the sorry state of current-day politics, they have slightly different agendas and approaches. Wag the Dog dissects the showmanship aspect of Washington, while simultaneously firing a few shots at Hollywood. Bulworth, on the other hand, is a full-frontal assault on the shallowness of the political campaign process. It has the audacity that Primary Colors should have displayed, but was afraid to. Bulworth is willing to openly offend to get its point across. That's something that Primary Colors was nervous about doing.
Children of Dune
The twins of Paul Muaddib Atreides become embroiled in the political landscape of Arrakis (Dune) and the rest of the universe.
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A scientist engineers a group of genetically engineered cyborgs for use as supersoldiers to fight U.S. wars in the Middle East. However, things get ugly when the cyborgs malfunction and turn on their creators.
She searched for a home, she searched for love. Confronted by Apartheid and a father who was Minister of censorship. With men like Jack Cope and Andre Brink she found much love, but no home. In his first speech to the South African Parliament Nelson Mandela read her poem The Dead Child of Nyanga and addresses her as one of the finest poets of South Africa.
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Fifteen year-old Emma Evans has an argument with her mother Lucy since she wants to go to a concert in London with her friends Rose and Alex. Emma immediately has a convulsion and her family takes her to the hospital, but the doctors do not find any physical problem. Then her father John tries to convince his wife to send Emma to school, instead of homeschooling, but she prefers to keep Emma in the family-based education. Lucy sends her daughter to the psychoanalyst believing that she has psychological problems and Emma asks her friend Rose to record her session of hypnosis though the cellular but the doctor dies during the session. When Emma listens to the tape, she believes she is possessed by the devil and asks her parents to be submitted to an exorcism with her uncle, Priest Christopher Taylor. However her skeptical mother is against the ritual and recalls that Chris was responsible for the death of a teenager...
Gustav Klimt lived his life like he painted it full of intensity, sensuality and passion. In this biographical fantasy by acclaimed director Ral Ruiz (Time Regained), Klimt (John Malkovich) recalls the decadence of his past in feverish visions from his deathbed. Reflecting on his many torrid affairs and his struggles for artistic freedom, he travels back to the 1900 World Exhibition in Paris. There, Klimt is introduced to a mysterious dancer, Lea de Castro (Saffron Burrows), who emerges as his muse and the personification of his own erotic ideals and carnal desires.