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I Love You, Man
Remember when Paul Rudd was more of a dramatic actor? When he went by Paul Stephen Rudd and took on projects like The Great Gatsby and The Cider House Rules. Heck, he was even in a Halloween movie (the sixth one)! That was weird, and it was a trend that certainly didn't indicate that he would eventually find his most success with comedy.
Jason Segel, on the other hand, seems to have had the comedy thing down pat since the beginning, occasional excursions into CSI land notwithstanding. First making his mark as the rock-loving teen Nick Andopolis in Paul Feig and Judd Apatow's Freaks and Geeks, Segel was seemingly always destined for the witty greatness that he has achieved in recent years.
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Blood and Bone
For some unknown reason, like snake-themed pictures, underground street fighting films have become a staple of the direct-to-video market. Each year, we see at least two or three titles released, with just a scant few actually seeing a theatrical run (Universal's Fighting is the only one this year, and it really should have gone DTV). Sony provides the latest round with Blood and Bone, a knuckle-buster featuring the ever-capable, underrated action star, Michael Jai White (best known as the title character in Spawn).
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House of Usher
THE "fall" has been omitted from the film version of "The House of Usher," but not the pitfalls.
American-International, with good intentions of presenting a faithful adaption of Edgar Allan Poe's classic tale of the macabre to neighborhood-theatre audiences yesterday, blithely ignored the author's style, and fell right in.
Poe's prose style, as notable for ellipsis as imagery, compressed or eliminated the expository passages habitual to nineteenth-century fiction and invited the readers' imaginations to participate. By studiously avoiding explanations not provided by the text, and stultifying the audiences' imaginations by turning Poe's murky mansion into a cardboard castle encircled by literal green mist, the film producers have made a horror film that provides a fair degree of literacy at the cost of a patron's patience."
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There are bonds created between women that men may never understand; perhaps the emotional connection between mothers, daughters and sisters is forged when a new generation springs from the formerís womb. At times, these bonds are complicated, even broken, by love, hate, jealousy and death. Volver accessibly explores those bonds and complications that appear foreign to men. Four years after Raimunda (Penélope Cruz) and Soleís (Lola Dueñas) mother and father died in a tragic fire, their elderly aunt, who lives alone, speaks as if Raimunda and Soleís mother is still alive and taking care of her in a small Spanish village. After the Auntís death, Soleís mother ďappearsĒ to her, while Raimunda and her daughter deal with the untimely death of their pseudo-patriarch.
Tom is an American doctor who goes to France following the death of his adult son, killed in the Pyrenees during a storm while walking the Camino de Santiago, a Christian pilgrimage route to the Cathedral of Santiago de Compostela in Galicia, Spain, also known as The Way of St. James. Tom's purpose is initially to retrieve his son's body. However, in a combination of grief and homage to his son, Tom decides to walk the same ancient spiritual trail where his son died in order to understand his son better. While walking The Camino, Tom meets others from around the world (three in particular), all broken and looking for greater meaning in their lives. During his travels, Tom discovers the meaning of one of the last things his son said (in a flashback) to his father: that there is a difference between "the life we live and the life we choose."
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The typical Garry Marshall film (Pretty Woman, Raising Helen) can be classified by a few words: contrived, insipid, and predictable. Georgia Rule, while not the worst work Marshall has done, is a limp misfire. There are moments during the course of the movie when it looks like it might be headed in an interesting direction, but those hopes go up in smoke during the last act as everything aligns itself for the tearful, feel-good ending. The central problem with the movie isn't that it deals with several hot-button topics, but that it addresses them with a shocking lack of emotional honesty.
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A title like "the Worst Director of All Time" virtually assures that people will remember Ed Wood, although perhaps not in exactly the way the filmmaker would have preferred. Tim Burton, with a biopic that is as much a parody as a tribute, has brought Wood to black-and-white life in the person of actor Johnny Depp, and surrounded him with a cast whose members often bear an uncanny resemblance to their real-life counterparts.
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When it comes to golf comedies (not a very popular genre, apparently), the film residing at the dubious pinnacle is Rodney Dangerfield's Caddyshack. Happy Gilmore, the new release featuring Saturday Night Live alum Adam Sandler, tries gamely to attain Caddyshack's level. Alas, this picture just isn't on par with the passable 1980 farce. Sandler's movie is worth a few laughs, but not many of the comic sequences are original, and even fewer are inspired.
I feel compelled to mention that this is undoubtedly Sandler's best outing to date. However, considering the quality of his other films -- Airheads, Mixed Nuts, and Billy Madison -- that's not an especially impressive statement. Nevertheless, despite the mediocrity of Happy Gilmore, it's apparent that Sandler has some aptitude for physical comedy, which puts him on a significantly higher plane than, say, Pauly Shore.
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The film is about a hit man (Randy Quaid) who gives a compulsive gambler (Jay Baruchel) one hour to live. The movie takes place in real time and its ultimate subject is what we do with the time we have in this world. The film begins when Andy, a hyperactive compulsive gambler, is plucked off the street by the calm yet imposing hit man, Reuban. Reuban tells Andy that heís been dispatched to kill him. Andy doesnít believe him at first. He figures itís just another one of Reubanís scare tactics to get him to pay off his gambling debt.
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Lyle Jensen (Joseph Gordon-Levitt) is admitted to the juvenile psychiatric ward of a hospital after beating another teen with a baseball bat during a baseball game; the other teen thought "it was funny" that Lyle's father was physically abusive. It's Dr. David Monroe's (Don Cheadle) job to get Lyle to talk in group therapy sessions. Lyle's mother placed him in the institution against his will after the incident in hopes of helping him control his anger. Lyle is placed in a room with Kenny (Cody Lightning) a reticent, thirteen-year-old victim of child molestation and they form somewhat of a sibling relationship. Lyle has problems adjusting to the confinements of the institution; he continually has confrontations with Michael (Elden Henson) and the two come to blows multiple times. One night, Lyle is awoken by screaming; Tracy (Zooey Deschanel), another patient, has recurring nightmares of her rape.
Claiming to be an extraterrestrial from a planet called 'K-PAX' about one thousand light years away in the Lyra constellation, Prot (pronounced like the word "goat", played by Kevin Spacey) is committed to the Psychiatric Institute of Manhattan where psychiatrist Mark Powell (Jeff Bridges) begins to evaluate him as a delusional. However, Prot's unwavering ability to provide cogent answers to questions about himself, K-PAX, and its civilization leads Dr. Powell to introduce him to a group of astrophysicists, where Prot claims to have journeyed to Earth by means of "light-travel" and goes on to display knowledge that puzzles them.
On Christmas Eve, a father named Frank Harrington (Ray Wise) is driving through California with his family consisting of his wife Laura (Lin Shaye), his son Richard (Mick Cain), his daughter Marion (Alexandra Holden) and her boyfriend Brad (Billy Asher), to have Christmas dinner at the home of Frank's mother-in-law. Frank decides to drive through an unknown shortcut using a secondary road, where horrific events follow his family.
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The school teacher Amy has been proposed by her boyfriend Nick early in the morning and she promises her answer later in the afternoon. After her class, while coming back home, Nick has a car accident in a crossroad with a truck driven by Lucas Dylan. He breaks his leg and an ambulance takes him to the hospital. Amy has phobia with hospitals, but she gets a taxi and goes to the nearest hospital. However, Nick is not there, and she meets Lucas, who is also looking for his sister that has disappeared in the same weird circumstance. They decide to team up and search together where the victims might have been interned, while Amy experiences the most bizarre and scary situations.
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Ten years after witnessing her older sisters brutal murder, Jenny Traylor leaves her hometown in North Carolina to start her freshman year at the University of New York City. Still traumatized by her sisters death and struggling with crippling agoraphobia, Jenny tries to cope with the overwhelming city and figure out her new life. When Jennys over-enthusiastic Resident Advisor organizes a Welcome Week scavenger hunt, Jenny is reluctantly persuaded to join the game. But as she and her new friends decipher the cryptic clues texted to their cell phones - clues that lead them through darker and increasingly remote parts of the city - it becomes terrifyingly clear how high the stakes have become. Someone is hunting for real.
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Moving in a non-linear fashion, the movie follows the exploits of a group of young 20-something rich kids who are plotting a kidnapping in order to save the sister of one of the friends. The movie opens with Charlie Barret (Walken) walking to his private table in a restaurant, only to see three young men sitting at his table - Avery (Henry Thomas), Max (Sean Patrick Flanery) and Brett (Jay Mohr). Charlie happens to know Avery's father, and after an initial reluctance, is willing to go with the boys for a 'night on the town'.
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Between his tax problems and his legal battle with his wife for the custody of his daughter, these are hard times for the action movie star who finds that even Steven Seagal has pinched a role from him! In JCVD, Jean-Claude Van Damme returns to the country of his birth to seek the peace and tranquility he can no longer enjoy in the United States.