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It becomes ever so obvious that Turtles Forever, as it speeds forth to its climactic battle, is for the fans. Whether it's the bittersweet surprise appearances in the final moments of the movie, the setting for the climactic battle between the Turtles and Shredder, or the plethora of cameos that pop up at one moment in particular that will undoubtedly max out the pause button on many remotes, there is no doubt who the audience is for this movie. While it's so easy for a movie such as Turtles Forever to be nothing more than an excuse for fan cameos and baiting, there is a little more at work here, signifying something bigger. Brining together so many different aspects of these beloved characters, Turtles Forever seems to perfectly encapsulate the past 25 years of the franchise.
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Nicolas Cage is a magician with a secret: he can see into the future - only two minutes into it, mind, but it's enough to guarantee plenty of bullet-dodging in this far-fetched thriller. FBI bigwig Callie Ferris (Julianne Moore) reckons Cris (Cage) can stop a terrorist bomb, but he'd rather chase moist-lipped teacher and current object of his visions, Liz (Jessica Biel). Fun time-twisting gives way to tedious implausibility in this miscast, continuity-troubled blot on an already soiled record of Philip K Dick adaptations.
Hell Ride is a deliberate, calculated throwback, referencing and recycling the cheapie bike-sploitation flicks of the '60s and early '70s as a band of burly brothers roar, rage and ride their way through the American Southwest on a rampage of revenge. Written by, directed by and starring Larry Bishop, Hell Ride thrums and roars with attitude; problem is, the drive shaft components of plot and character and logic just aren't there, meaning that even when Bishop hits the throttle, the roar and rattle can't hide the fact nothing's really happening.
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Although perhaps a little unkind, the best description I can think of for Racing Stripes is that it's a "Babe wannabe." The new film has many of the same qualities, but it isn't as fresh, as witty, or as affecting as the 1995 movie or its 1998 sequel. The concept of making animals talk is always tricky, and, for the most part, director Frederik Du Chau (in his live-action debut after helming the animated Quest for Camelot) pulls it off. The animals' mouths move in a believable fashion, and the vocal cast is first-rate. The fault lies in the script (credited to newcomer David Schmidt), which doesn't believe that the animals have much worth saying to adult audience members.
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Under normal circumstances, Zoolander is the kind of movie I would recommend giving a pass to in theaters and waiting for the video release. But these are far from normal circumstances. In the wake of the World Trade Center disaster, audiences are looking for distractions, so anything that offers opportunities for laughter, no matter how uneven or scattered those opportunities may be, cannot be immediately dismissed. Thus it is for Zoolander. This is by no means a great (or even a very good) comedy, but there are times when it tickles the funny bone, and, for that reason if no other, it may be the right film for this time.
The Hangover begins and ends conventionally but, in between, it's not afraid to go off the rails. Unlike most so-called "comedies," this one can claim the virtue of being reasonably funny. It never tries too hard, the actors have a good sense of comedic timing, and none of the jokes are drawn out for too long. And, although The Hangover doesn't have the heart of, say, Knocked Up, it displays an affection for its characters that most comedies don't. I wouldn't go so far as to claim the men and women populating the production are three-dimensional but they escape the low orbit of simple caricature. There's a little more going on here than vulgar humor and that makes The Hangover worth the price of admission.
Kill Bill (Volume 2)
Two things are readily apparent about Kill Bill Volume 2. First, unlike its predecessor, this is a complete movie. It stands on its own. It is possible to see and enjoy Volume 2 in a way that was not true of Volume 1. Viewed in retrospect, the first installment now seems like an easily discarded prologue. The real meat is in Volume 2. Secondly, Quentin Tarantino needs a new editor - someone who can convince him to make the really hard cuts. Sally Menke, who has held that post for all of Tarantino's movies, couldn't/wouldn't/didn't convince the ego-centric filmmaker that eliminating about 30 minutes of filler from Kill Bill Volume 2 would have made it a leaner, meaner motion picture. The running time is 130 minutes; it should have been about 1:30.
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I never saw "No Mercy" when it was released back in 1986, but somehow I don't think my opinion of it, having watched it now, would have been much different because quite simply it's a cliche and predictable cop looking for revenge movie. In fact watching it now "No Mercy" is not just cliche and predictable but also corny with dialogue which is so miserably tacky it's embarrassing. Even the sexy casting of Richard Gere and Kim Basinger adds little of merit and it's only some nice atmospheric moments which stop it from being completely lacking anything worthy of praise.
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The opening scene of the movie explains the origins of U.S.-Saudi diplomatic relations and how energy exploitation has transformed the Middle East through a timeline sequence. It portrays the conflicts that have risen since the late 1940s for the rightful ownership of the oil industry. This includes the Persian Gulf War in Iraq and al-Qaeda's growing network of terrorism. Eventually, it explains the 9/11 terrorist attacks and how the majority of the hijackers were Saudis. This raises serious questions on the relationship between Saudi Arabia and the United States. The plot begins with the current struggle of Saudi Arabia and the kingdom's efforts to stand control of their country against terrorist extremists.
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East and West team up to take on bad guys in the British Empire in this sequel to the action comedy hit Shanghai Noon. Chon Wang (Jackie Chan), once an Imperial Guard in China, is now the Sheriff of Carson City, NV, while his onetime cohort, former train robber Roy O'Bannon (Owen Wilson), scrapes together a living writing dime novels based on his adventures and waiting tables in New York City. However, when Wang learns that his father was killed by bandits who broke into the Emperor's palace and stole the Imperial Seal, he's determined to bring the criminals to justice.
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A young Henry Oldfield (Nick Fenton) lives on a sheep farm in New Zealand, with his father and older brother, Angus. After witnessing his father's pride in Henry's natural ability at farming, Angus plays a cruel prank on him involving the bloody corpse of his pet sheep, just moments before Mrs. Mac, the farm's housekeeper, comes to tell the boys that their father has been killed in an accident. The combined shock of these two incidents leads Henry to develop a crippling phobia of sheep.
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The fictional love story between Emily Hudson (Tamara Hope), the daughter of the wagon train's pastor, and Jonathan Samuelson (Trent Ford), the son of the local Mormon bishop, plays out against the build-up to the tragedy itself. The movie begins with the deposition of Mormon leader Brigham Young (Terrance Stamp). The Fancher party is then depicted crossing Utah on its way to California. The party encounters a group of Mormon militiamen, who advise them to move on. Bishop Jacob Samuelson (Jon Voight) defuses the situation but is disturbed that the Fanchers have a woman wearing men's clothing and are delivering racehorses to California to be used in gambling. He is also upset that some are from Missouri, whose inhabitants he blames for the death of Joseph Smith and for persecuting them. He instructs his sons Jonathan and Micah to keep an eye on them.
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The Lena Baker Story
A chronicle of the life of Lena Baker, the first woman to be sent to the electric chair in Georgia for the murder of her employer, who forced her into sexual slavery.
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The Return of the Native
The novel takes place entirely in the environs of Egdon Heath, and, with the exception of the epilogue, Aftercourses, covers exactly a year and a day. The narrative begins on the evening of Guy Fawkes Night as Diggory Venn drives slowly across the heath, carrying a hidden passenger in the back of his van. When darkness falls, the country folk light bonfires on the surrounding hills, emphasizing—not for the last time—the pagan spirit of the heath and its denizens.
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Going Steady aka Greasy Kid Stuff
In this nostalgic sequel to the Israeli hit Lemon Popsicle, three teen pals on the brink of manhood look for love, sex and a good time, set to a soundtrack of beloved 1950s rock n roll. Benzi (Yftach Katzur) is the sensitive romantic, Yudale is shy and overweight (Zachi Noy) and Momo (Jonathan Sagall) is the ladies man. Hugely popular in Israel, Going Steady was the first of many Lemon Popsicle sequels, including Hot Bubblegum and Baby Love.
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An ex-con returns to his rural Ontario roots and outwits a corrupt and wealthy thoroughbred owner trying to take over a slew of local farms. Ray Dokes, a charming ex-ballplayer, returns from jail to discover the rural landscape of his childhood transformed by urban development. Determined to stay out of trouble, Ray heads to the farm of his old friend Pete Culpepper, a crusty Texas cowboy who trains losing racehorses and whose debts are growing faster than his corn. Sonny Stanton, gambling addict and spoiled heir to a thoroughbred dynasty, is in the process of buying up an entire concession of farmland to build a casino and golfing resort, and the only one brave enough to stand in the way of Sonny is Etta Parr, Rays old flame, who might be willing to forgive Ray if it wasnt for her pride and common sense. The situation is a minefield, one Ray is determined to avoid. He hooks up with Chrissie, a sexy, sassy and talented jockey and steers clear of Sonny. But when a ten-million-dollar thoroughbred goes missing from the Stanton Stables, Sonny pushes things too far and forces the sale of the communitys remaining farms. Ray reacts by coming up with a plan to stop Sonny in his tracks and right a few wrongs in the process. The scheme is unlikely and audacious the players are as unpredictable as nitroglycerin. One false move and Ray will land back in jail. And the smart money is against him.
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