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A Perfect Getaway
It spoils nothing to say that A Perfect Getaway is a twist movie. In fact, it wants you to know that it's a twist movie -- desperately, pleadingly, damn-near annoyingly wants you to know. It is a film that simply would not exist were it not for its own third act. Its main characters have long, in-depth discussions about the nature of screenwriting and the structure of thrillers, using phrases such as "red herring" and "second-act twist" with a suspicious frequency intended, one imagines, to disarm the viewer. After all, if the film is so willing to get us thinking about gamechangers, can it really attempt to twist on us in a way we won't already have considered?
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Gorezone magazine said of this movie: 'If you enjoyed Hostel. You're going to love Train', comparing Train to Hostel is a strange tactic. Since Hostel was to most extents and purposes, over-hyped and not the genius toted, it's brave to do such a thing. The question becomes given that it is trying to compare itself to Hostel what is it.. better than? Worse? Or just too familiar?
I don't know a lot about Speed Racer aside from what I've gleaned from the theme song over the years -- apparently, the young man's a demon on wheels -- so, in many ways, I'm the best possible audience for Larry and Andy Wachowski's new big-screen interpretation of the character. Originally a Japanese animation program exported and re-dubbed for the American market in the '60s, Speed Racer has now been revived and revitalized for now. And the Wachowskis have created a blast of pure pop family fun; Speed Racer's a bright, bold visual spectacle designed for kids.
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Pirates of the Caribbean: On Stranger Tides
The fourth Pirates of the Caribbean movie represents a perfect encapsulation of what the summer sequel tent-pole has become: a half-baked casserole of recycled elements from past installments of the franchise tossed together with lackluster action sequences (inspired by or designed for video games) and gratuitous special effects. The screenplay, credited to Ted Elliott & Terry Rossio, is little more than a clothesline from which to dangle all of the obligatory set pieces. This is one script that could have been assembled using a computer. Had that been the case, however, the result wouldn't have been as long-winded. The basic story is simple; it's something of a wonder how much endless exposition and tedious dialogue Elliott & Rossio cram into the film's bulging 137 minutes.
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In the movie business, there's no such thing as "truth in titling." If there was, Bobby would be called A Bunch of Boring, No-Name, Cookie-Cutter Characters. Although that lacks the brevity and appeal of the real title, it's more illustrative of the film's content. There's another thing to consider as well when wondering about whether to see Bobby: the track record of the director. While it's not impossible for someone with a dubious filmography to craft an unanticipated masterpiece, a healthy bit of skepticism is warranted based on Emilio Estevez's resume as a director (Wisdom, Men at Work), which doesn't inspire confidence. Sadly, even with low expectations, Bobby disappoints.
A moment frozen in time through the lens of a camera - that's one of many images director Jan Troell uses to cement the foundation of his new period piece, Everlasting Moments. The chronicle of a woman who lived and died in the early part of the 20th century, this film covers the period between 1907 and 1921. Troell asks hard questions about love, fidelity, and responsibility and, perhaps most intriguingly, paints the portrait of a woman whose life could be considered a success or a tragedy, depending on the shading of the lens through which it is observed.
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Malena, the latest film from Italian director Giuseppe Tornatore, is a curious mix of whimsy and tragedy. Tornatore's blending of the divergent tones is not entirely successful - there are several jarring moments - but, on the whole, Malena works as an affecting coming-of-age story set against the backdrop of Fascist Italy and filtered through the memories of the narrator. Along the way, Tornatore sticks to the same basic style that served him well in his 1989 international hit, Cinema Paradiso, by employing equal parts nostalgia, comedy, and drama.
It's the nature of our society to put people on pedestals. Some wear the title of "hero" like a mantle; to others, it is an albatross. You need look no further than the O.J. Simpson story to see this. So what defines greatness? This question, in conjunction with the reality gap that so often exists between the media's portrayal of a public figure and their actual personality, lies at the core of Cobb, a new film from writer/director Ron Shelton, the man who brought us the baseball comedy Bull Durham.
Who Am I?
If you aren't a fan of Jackie Chan then don't bother watching this, if you are, then consider your options all the same, for this Chan caper can easily confuse what with its ridiculous and occasionally nonsensical plot, its paper thin characters and its dreadful script, not to mention a peppering of atrocious dubbing!
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Victor Rosa (Leguizamo) is a drug dealer in New York who sells a specific brand of heroin called "Empire". His area, or "turf", is located in the South Bronx, where his other rivals all maintain an uneasy truce. They generally respect each other's borders and sanctity. All of this is maintained because it just so happens that they all purchase their drugs from the same supplier, the drug lord La Colombiana.
Kate & Leopold
In 1876, Leopold Alexis Elijah Walker Thomas Gareth Mountbatten, Duke of Albany, is a stifled dreamer. Strict Uncle Millard (Paxton Whitehead) has no patience for Leopold's disrespect for the monarchy, chastising him and telling him he must marry a rich American, as the Mountbatten family finances are depleted. His uncle has told him that on his "thirtieth birthday he had become a blemish to the family name".
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Casey Wells (Thomas Jane) has cleaned up his life. He is now a married architect and is looking to adopt a child with his wife when Nick (Aaron Eckhart), an old partner from his days as a drug dealer in Los Angeles, shows up on his doorstep. Nick leaves a couple of suitcases in Casey's guest room before leaving to run some errands. After Nick leaves, Casey becomes suspicious of one of the suitcases and eventually opens it to find it filled with heroin. After calling Nick to yell at
Black Christmas (1974)
Its time for Christmas break, and the sorority sisters make plans for the holiday, but the strange anonymous phone calls are beginning to put them on edge. When Clare disappears, they contact the police, who dont express much concern. Meanwhile Jess is planning to get an abortion, but boyfriend Peter is very much against it. The police finally begin to get concerned when a 13-year-old girl is found dead in the park. They set up a wiretap to the sorority house, but will they be in time to prevent a sorority girl attrition problem?
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Matt Sorenson (Dolph Lundgren), a former boxer and San Francisco cop, now makes a living collecting debts for small businesses. The brutal death of of his high powered younger brother, Michael, changes all that forever. Intent on finding his brother killer, Sorensen infiltrates the powerful inner world of politics, business intrigue and casual sex. Rejecting the police and media theory that the murder is the work of a female prostitute, Sorensens focus falls on the corrupt big city businessman, Jim Conway. His obsession to discover the killers identity mounts a a series of other men are found murdered in a similar fashion. Sorensen looses all objectivity and becomes a one man vigilante
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A vacationing woman meets her ideal man, leading to a swift marriage. Back at home, however, their idyllic life is upset when they discover their neighbors could be assassins who have been contracted to kill the couple.
Aaron Davis (Steve Sandvoss) and Christian Markelli (Wes Ramsey) are the two most opposite people in the world. Aaron is a young Elder (or a Mormon missionary) who wants to do his family proud and is quite passionate about his religion and film. Christian is a shallow WeHo waiterparty boy who only looks forward to bedding a new guy every night. After Aaron and three other missionaries move into the apartment across from Christian, his friends bet him 50 that he cant get one of them to jump into the sack, so he instantly latches onto Aaron. There are two problems, though - Christian is falling in love with Aaron and the Mormons are not the biggest fans of the homosexual community. Once Aaron is discovered, the two have to go through trials of regret, loss, perseverance, and forgiveness if they both want to get to the thing that matters to them most each other.
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