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It’s twinkle versus glower in the big-screen edition of Peter Morgan’s theatrical smackdown “Frost/Nixon.” Directed by Ron Howard and adapted by Mr. Morgan, the film revisits the televised May 1977 face-off between the toothy British personality David Frost and the disgraced former president Richard M. Nixon three years after he left office, trimming their nearly 30-hour armchair-to-armchair spar into a tidy 122-minute narrative of loss and redemption that, at least from this ringside seat, would be better titled “Nixon/Frost.”
Sweeney Todd: The Demon Barber of Fleet Street
Tim Burton makes fantasy movies. Stephen Sondheim writes musicals. It is hard to think of two more optimistic genres of popular art, or of two popular artists who have so systematically subverted that optimism. Mr. Sondheim has always gravitated toward the dissonance lurking in hummable tunes, and has threaded his song-and-dance spectaculars with subtexts of anxiety and alienation. Mr. Burton, for his part, dwells most naturally (if somewhat uneasily) in the realms of the gothic and the grotesque, turning comic books and children’s tales into scary, nightmarish shadow plays.
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The original 80’s A-Team TV show is one of those shows from my childhood that I look back on fondly, but whenever I sit down to watch an episode these days, I get really bored, really quick. But as boring as some of the plots were, the best part about the show was the great characters; Hannibal, Face, B.A. and Murdock who managed to make every show at least bearable. Joe Carnahan seemed to know this while making his theatrical adaptation of the show because he pulled the best elements of the TV show and left the 80’s cheese right where it belongs; in the 80’s. But rest assured that this is the fun, high-energy summer blockbuster we’ve been waiting for.
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Waitress is a pleasant dramatic comedy that overcomes its tonal inconsistencies by presenting an engaging lead character with whom its virtually impossible not to empathize. The film makes its share of missteps, occasionally feeling a lot like a sit-com and sometimes calling attention to quirky filmmaking devices that don't work (such as a character's face being frozen for an inordinate amount of time in a single expression). In the end, however, Adrienne Shelly's movie has enough of a heart that it's easy to forgive, if not entirely overlook, such issues.
The Wackness is a period piece drama that takes viewers back to the summer of 1994 in New York City. It's three months in the life of a drug dealer as he traverses the road from high school graduation to the start of college. This is basically a coming-of-age story with the narrative concentrating almost exclusively on the boy's friendship with his aging hippy psychiatrist and his flirtation with the shrink's step-daughter. Movies about drug dealers are often dark and, while The Wackness is shot using techniques that desaturate color, this is as much a black comedy as it is a drama, and there's no hint of the violence that often permeates films about drugs.
Basic Instinct 2
Who would have imagined that the most appropriate word to describe Basic Instinct 2 would be "boring?" This plodding, pretentious follow-up to 1992's hit replaces Paul Verhoeven's lurid, over-the-top style with the leaden rhythms of Michael Caton-Jones (Rob Roy), a director who doesn't have a clue what a Basic Instinct movie should be about. By emerging from the niche in the exploitation genre carved out by the original, Caton-Jones has rendered the material inert. It's nearly impossible to endure the two hours that comprise Basic Instinct 2's running length not because it's dumb (although it is) and not because it's poorly acted (which it also is), but because it's lifeless. For anyone not jacked up on caffeine (minimum of two cups of strong coffee required), this is a guaranteed sleep-inducer.
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A film like Up makes it clear that Pixar has moved beyond the point where it feels the need to pander to children. Unlike its main animation competitor, Dreamworks, Pixar allows sophisticated themes and ideas to seep into its movies. Everything does not have to be simplified so that a seven-year old can understand what's going on. That's not to say that Pixar films should be seen as family unfriendly art films. Up, for example, includes plenty of jokes that kids will get and several unremarkable action scenes have been included with younger viewers in mind, but there's material of real substance - something increasingly lacking in animated films not tagged with the "Disney" label. Up is not as transcendent as last year's WALL-E, and doesn't rank near the top of Pixar's pantheon of great features, but it's a solid (and in some ways innovative) fantasy adventure that mixes comedy, action, and drama into a satisfying whole that is likely to please all but the most cantankerous curmudgeons.
Sisterhood of the Traveling Pants
I am unquestionably not a member of the target demographic for Ken Kwapis' (He Said, She Said) The Sisterhood of the Traveling Pants, but that didn't prevent me from enjoying it. Although there's plenty of manipulation to be found in this motion picture, that doesn't obscure the inherent humanity of the characters and the sense of emotional honesty that underlies their circumstances. Plus, the film features four strong leading performances from up-and-coming actresses who, at least from the evidence presented here, deserve to become stars. The Sisterhood of the Traveling Pants contains its share of flaws, but they are not significant enough to mute my enthusiasm for it.
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Tides of War
In the cold, dark waters off North Korea a U.S. Navy fast attack submarine meets with a mysterious disaster – it’s attacked and nearly sunk by an ominous stealth submarine resulting in the deaths of the Executive Officer and the Engineering Officer.
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You could drive a truck through the plotholes in Directorty Harry, which wouldn't be so serious were the film not a specious, phony glorification of police and criminal brutality [from a story by Harry Julian Fink and R.M. Fink].
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The Valley of Light
Made-for-TV drama about Noah (Chris Klein), a homeless World War II veteran who settles in a small North Carolina town and develops relationships with Eleanor (Gretchen Mol)...
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He's Just Not That Into You
The needy Gigi Haim is a young woman seeking her prince charming somewhere amongst her unsuccessful dates. After dating estate agent Conor Barry, Gigi anxiously expects to receive a phone call from him. However Conor never calls her. Gigi decides to go to the bar where he frequents to see him, but she meets his friend Alex who works there. They become friends and Alex helps Gigi to interpret the subtle signs given out by her dates.
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Faced with the decision of a lifetime, Arvilla Holden hijacks her two best friends and sets off in a vintage 66 Bonneville convertible.
This movie places some top thiefs, looking to steal money from a bank. The All-Star cast has many blunders on the way. Meanwhile a member of their group is missing and two cops chase after him.
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Shayla Stonefeather, a Native American attorney prosecuting a Lakota teen in a controversial murder trial, returns to the reservation to say goodbye to her dying father. After the teen is killed, she hears ghostly voices and sees strange visions that cause her to re-examine beliefs she thought she left behind.
Alex, a 30-something Austin, Texas rocker, spins into early mid-life crisis when he discovers a problem with his sperm. In spite of his ticking biological clock, his younger wife, Jules, has no interest in having children at this time. So, when Alex finds out that his band manager, Claudia, is considering an anonymous sperm donor, he convinces her to choose him instead. Jules acquiesces, but a complicated situation soon careens out of control when an unplanned pregnancy, unrequited love, and a big record deal fall into the mix. What follows is a chain reaction of comedic and sometimes heartbreaking events as Alex juggles his friendship, love life, and a very tentative music career with an imminent child. This delicately built house of cards eventually comes tumbling down, forcing Alex to grow up and compelling the others to rethink lifes priorities. Based on a true story.
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