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Have you ever told a lie, that lead to another lie, that lead to a deception, circling back on itself until you've landed in the center of a small, intricately woven web of falsity? Usually, these moments compound quickly, in a blur of deceit, and when the dam finally breaks, you're left exposed and embarrassed – half by the truth you didn't want told and half by your ridiculous inability to tell it. Well, try to maintain that endless series of lies for more than a decade and you'll perhaps feel something like whatever Mark Whitacre must have felt while leading the FBI into a corporate price-fixing investigation entirely of his own design.
Such is Steven Soderbergh's The Informant!.
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Bottom Line: A flat-footed sitcom with unconvincing situations and comedy.
The protagonist of Barra Grant's "Love Hurts" is an absent-minded physician more or less stuck in the '80s, and the movie suffers from a similar problem: It's a romantic comedy that takes as its model TV sitcoms from bygone days.
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The most amazing thing about The Queen, directed by Stephen Frears (High Fidelity, Dirty Pretty Things) is that Frears has taken a concept that angled sharply toward "made-for-tv movie" territory and turned it into a remarkable, insightful and subtle masterpiece of a film. The Queen, which stars Helen Mirren in a performance that's generating Best Actress Oscar buzz, is about the week or so after the death of Diana, the Princess of Wales, in August of 1997. Tony Blair, the Labour Party candidate, had just been elected in a landslide victory by an overwhelming majority of British voters. The public's sympathy and mindset was most assuredly tipping toward the common man, and idolizing the royals had fallen out of favor. Diana, who was always far more popular that her husband, Prince Charles, had ditched her marriage and a future throne and was spreading her wings as a free woman, constantly working in support of her various charitable causes while hob-knobbing with a different set of royalty -- celebrities. And the people of Britain -- indeed, the world -- just couldn't get enough of Diana, even after the divorce.
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El laberinto del fauno
I'm still struggling with this film, and I think that the Internet is to blame. There's been a lot of positive commentary about the film, and much of it building it up to be utterly wonderful, however I'm still struggling with how much I enjoyed it and how good it actually is. Even as I write this I am unsure how I truly feel about the film and how much to rate it with, perhaps I'll have decided by the time I've finished writing.
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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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Two weeks ago, I wrote that, while watching Land of the Lost, I felt a sense of depression. That feeling revisited me during Year One, an inexplicably unfunny comedy made by two people who have proven they can do much better: director/co-writer Harold Ramis and co-producer Judd Apatow. Filled to the point of overflowing with gross-out humor, Year One might get some belly laughs from six and seven year olds, who can't resist giggling at the image of someone farting or peeing on himself, but I found the most extreme material to be so tasteless that it voided all comedy. And, when one gets beyond the scatological elements, the rest of the jokes are obligatory, rarely generating more than cursory chuckles.
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I have not read Nicholas Sparks' The Notebook, but I have heard good word-of-mouth about the novel. Sadly, the elements that made the book special did not survive the transition to the screen. The Notebook, as adapted by Nick Cassavetes from a screenplay by Jan Sardi and Jeremy Leven, comes across as an ordinary romantic melodrama with a maudlin and ineffective climax. It's the kind of story for which no term seems more appropriate than "soap opera."
In the Valley of Elah
The last scene of In the Valley of Elah may be the most ridiculously ham-fisted and over-the-top moment in all of 2007’s supposed prestige cinema. This image is so blatant and cheesy that it makes one wonder whether director Paul Haggis’ success with Crash was some kind of fluke. In fact, the film as a whole raises that question. Crash was not the most subtle film, but its clever structure and finely tuned character moments camouflaged many of its weaknesses. The same cannot be said of In the Valley of Elah, which takes two hours to make an oh-so-obvious point: war dehumanizes human beings. Is there anyone alive over the age of 12 who doesn’t know that?
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The reign of Queen Elizabeth I of England began in 1558, when, at the age of 25, she succeeded her half-sister, Mary. Over the course of the next 45 years, Elizabeth established herself as one of the most popular and successful monarchs ever to rule England. Elizabeth, the pseudo-biographical film from director Shakhar Kapur (Bandit Queen), presents the young queen's struggles in the form of a grand costume melodrama (of the sort that the French are famous for). It's a rousing adventure that keeps the audience involved for the entirety of the two hour running time while opening a window into the culture that gave birth to Christopher Marlowe, Edmund Spenser, Francis Bacon, and William Shakespeare.
Sexual taboos come in all shapes and forms -- bestiality, pedophilia, incest -- but none creates a more vivid image than that of necrophilia. So, when I say that Kissed is the character study of a necrophiliac, recognize that this film is intended for a very select audience. Anyone who feels incapable of watching a movie that deals frankly with this subject (even though it is, relatively speaking, tastefully approached) should steer clear of Kissed. Director Lynne Stopkewich's feature is for adventurous movie-goers only.
Credit the marketing masters at Twentieth Century Fox -- they've managed to make Independence Day the most eagerly-anticipated motion picture of a potentially record- breaking summer. Tantalizing shots of the White House and Empire State Building being destroyed by alien ships have been shown in multiplexes since last Christmas. It's a saturation philosophy: show the previews before every movie and tell people that this is "the event" of 1996, and they will come. Whether Independence Day takes in $30 million, $50 million, or $80 million during its first weekend is irrelevant -- it will make a huge splash. Unfortunately, and perhaps not unexpectedly, it doesn't live up to the hype.
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The Naked Gun 2½: The Smell of Fear
The most accurate way to describe the Naked Gun series is comparing it to Marmite.
You either hate it or you love it.
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The Outlaw Josey Wales
Clint Eastwood has directed, played in or starred in a lot of westerns. We all have our favorites and this my favorite Eastwood western, along with the more set-in-modern-day western, "Bronco Billy." (The latter is really a drama more than a western.)
This is simply an extremely entertaining story with two lead characters - played by Eastwood and Chief Dan George - who were fascinating to watch. Also, as in most westerns, I enjoyed the good photography and was surprised, considering the year of release, that the language was pretty tame.
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Miss March (aka Playboys)
The movie begins with Eugene (Slade Pearce) and his best friend Tucker (Remy Thorne) as kids. They sneak into the bedroom closet of Eugene's brother, as he recently acquired a valuable Michael Jordan rookie card. Upon opening the box the card was in, Tucker notices that Eugene's brother has a copy of Playboy. Tucker opens the magazine, instantly becoming obsessed with it. Three weeks later, Tucker's demeanor has changed to that of a hormone driven teenager, despite that he is only 8 years old. Fast forward ten years later, Eugene (Zach Cregger) and Tucker (Trevor Moore) are seniors in high school.
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The film begins in Bogota, Columbia, where Cataleya's father, Fabio, is having a secret meeting with Marcos, a drug lord to pay off his remaining debt. Fabio, however, learns that Marcos is putting a hit out on him and his family for a valuable item that he holds and Marcos wants. Fabio rushes home and warns Alicia, his wife, that Marcos is coming after them. While Alicia packs, Fabio hands Cataleya a business card, which should lead her to an airport security office, just in case. Fabio hands Cataleya the item that Marco wants, telling her not to lose it and to give it to the Ambassador so that she can get a U.S. passport. He also tells Cataylea to meet up with her uncle, who will take care of her. He tells her to, "Never forget where (she) came from." Soon, Marcos and his thugs arrive at Fabio's residence. Fabio, Alicia, and Cataleya try to escape, but the house is surrounded. Fabio and Alicia have Cataleya sit on the kitchen table and to not move no matter what, knowing the men aren't going to harm her. Cataleya witnesses both her parents gunned down quickly.
A black and white, surreal and silent comedy. Pedro has a dream of giving his wife an unforgettable birthday feast.
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