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The Chronicles of Narnia: Prince Caspian
Here in the unenchanted world of ordinary moviegoing, it has been about two and a half years since “The Lion, the Witch and the Wardrobe,” the first installment in Walt Disney and Walden Media’s mighty “Chronicles of Narnia” franchise. In wartime England, where the Pevensie children live when they’re not consorting with talking lions and battling witches, a year or so has gone by. But in Narnia itself, to which the four plucky Pevensies return in “Prince Caspian,” the second movie in the series, centuries have passed, and everything has changed. The grand hall where Peter, Susan, Edmund and Lucy were made monarchs of the realm has fallen into ruin, and the friendly woodland creatures with their homey British accents and computer-animated fur seem to have vanished from the scene.
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Garfield: A Tail of Two Kitties
When all the children at the movie theatre with their great big smiles and their gigantic handfuls of Milk Duds and popcorn butter look as if they're being transformed into adults with tax problems right before your very eyes, then you know something's not quite right.
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X-Men: The Last Stand
Much as they did with Bryan Singer's first entry in the X-Men film franchise, the fanboy community has spent the last year or so coiled with dread and anticipation over X-Men: The Last Stand, which opens Friday. While it is nowhere near the disaster that the naysayers and axe-grinders would have you think, the third (and, by most accounts, final) X-Men film is not as rewarding or complete an experience as it should have been.
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There was a time when David Lynch made coherent, challenging motion pictures. Love it or hate it, there's no doubt that Blue Velvet was one of the most talked-about motion pictures of the 1980s. Some consider it to be a masterpiece, while others view it as exploitative trash. Nevertheless, at least the narrative makes sense. The script requires the viewer to pay attention, but everything ties together in a sensible manner. Something similar could be said about Lynch's next outing, Wild at Heart. It's a little more out there, but still not totally outrageous. Next came "Twin Peaks", the television series that started out as one of the most compelling hour-long dramas ever to air on a network before devolving into silliness. Lost Highway followed on the heels of Twin Peaks: Fire Walk With Me, with neither picture telling a linear or comprehensible story. The Straight Story seemed to put Lynch on a different course, but, with Mulholland Drive, the filmmaker is back to his old tricks.
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Ghost Dog: The Way of the Samurai illustrates that, in some bizarre way, artsy films can be subject to the same major flaws that often afflict Hollywood blockbusters. It's typical for a big budget motion picture to ignore logic and consistency in order to boost the level of adrenaline. Ghost Dog, the latest from iconoclast director Jim Jarmusch, commits the same sin, albeit for radically different reasons. Jarmusch is so infatuated with his subject matter and thematic content that he force-feeds his plot through a pair of totally incomprehensible twists (one near the beginning and one at the end) in order to make statements and get things moving in a particular direction. As a result, only the most ardent Jarmusch fan will be able to suspend disbelief, and the movie turns into an exercise in ideas rather than an excursion along a stable narrative route.
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Like Water for Chocolate
In the early years of the twentieth century, on a small ranch in Mexico, the story of three sisters and their repressive mother unfolds. Tita (Lumi Cavazos) is the youngest daughter of Mama Elena (Regina Torne), and, as such, because of a family tradition, she is forbidden to marry or have children until after her mother's death. Tita is agreeable to this situation until she falls in love with the dashing young Pedro (Marco Leonardi). When Pedro learns that he cannot marry Tita, he agrees to an engagement with her older sister, Rosura (Yareli Arizmendi), in the hope that by marrying her, he will have ample opportunities to spend with his real love.
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48 Hours, Beverly Hills Cop, and Lethal Weapon were all, to some extent, reasonably entertaining action films. The unavoidable result of their success has been a long string of sequels and rip-offs. The latest is Bad Boys, an overlong sample of MTV-style direction that "borrows" heavily from these (and numerous other) flicks, and, in the process, elevates them to the comparable level of Citizen Kane.
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How to Make an American Quilt
There's more to a quilt than fabric and thread -- each patchwork design has its own unique story (or stories) to tell. In How to Make an American Quilt, the first Hollywood release from Australian director Jocelyn Moorhouse (Proof), we come to understand how the tales of the seven makers imbue their creation with passion and vitality. All the sorrows, joys, longings, sufferings, and loves of these women are sewn into their quilt and, as their bittersweet memories are given expression, one young woman applies these lessons of the past to her own uncertain future.
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“War, Inc.” is gonzo moviemaking with a bleeding heart. A satirical farce that wants to be “Dr. Strangelove” for the age of terrorism, it is a zany, nihilistic free-for-all that goes soft.
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Despite its enormously entertaining action sequences and generally high level of energy, Drop Zone has a major draw back: it doesn't make sense. This is a classic example of a script apparently constructed as an afterthought to accommodate the skydiving, fight, and chase scenes. The plot, to put it frankly, is complete rubbish, with far too much time devoted to fruitless attempts at explaining and developing it.
Most recently, skydiving was used to drive Terminal Velocity, and, while no one is going to nominate Drop Zone for an award, it's a more enjoyable way to spend ninety-plus minutes -- assuming you're for some reason forced to choose between the two. Then again, no matter what the arena, Wesley Snipes can act rings around Charlie Sheen, and John Badham (Wargames) is a somewhat more accomplished director than Velocity's Deran Sarafian.
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Preston Blake started out in his career hoping to be a disc jockey as a young man, slowly working his way up through the ranks to found Blake Media, a corporation running hundreds of television and radio stations and with 50 thousand employees. After Blake freezes to death at the summit of Mount Everest with a triumphant smile on his face, a search for his heir begins.
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Screenwriter Larry Golin made his directorial debut with this coming-of-age story set in New York. Four friends move in together in a ramshackle apartment in the Bronx as they try to figure out their next move while they finish up their senior year in high school.
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Adam (Leigh Whannell), a photographer, awakens in a water-filled tub and finds himself in a disused bathroom along with Dr. Lawrence Gordon (Cary Elwes), an oncologist. Both men are chained at the ankle to the pipes at opposite ends of the room. Lying between them is a corpse in a small pool of blood holding a revolver and a microcassette recorder. Adam and Lawrence learn from tapes in their pockets that Adam must escape the bathroom, while Lawrence must kill Adam before six o'clock, or he'll lose his wife and daughter and be left to die. Lawrence's tape also implies that the corpse between them was a similar victim who shot himself before succumbing to the effects of a poison. They find a bag containing two hacksaws, though neither is able to cut through the chains. Lawrence realizes that the saws are meant to be used on their feet.
Four months before Christmas, Sarah and Matthieu Scarangelo were in a car crash, of which Sarah and her unborn baby were the only survivors. On Christmas Eve, Sarah stays home alone, where she grieves her husband and prepares to go to the hospital the next morning for the delivery. As night falls, a woman knocks on Sarahs door asking to use the phone. When she refuses, the woman reveals that she knows Sarah and tries to force her way in. Sarah calls the police they inspect the home and determine the woman has left, but promise to keep watch over Sarah through the night. The woman returns and tries to take Sarahs unborn child, but Sarah locks herself in the bathroom. The strange woman torments Sarah through the night and kills all who try help her.
The crew have now set off to finish what as left over from Jackass 2.0, and in this version they have Wee Man use a pee gun on themselves, having a mini motor bike fracas in the grocery mall, a sperm test, a portly crew member disguised as King Kong, as well as include three episodes of their hilarious adventures in India, namely drinking beer off of Shridhar Chillais several feet long fingernails having one of the crew lie on a bed of nails with two snakes - one on his chest and one between the legs, as well as a decorated elephant in the background and finally having a half-naked Indian Sadhu drink one of the crews urine.
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A community of mutant outcasts of varying types and abilities attempts to escape the attentions of a psychotic serial killer and redneck vigilantes with the help of a brooding young man who discovers them. Based on the novel Cabal by Clive Barker.