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The Saw films, for better or for worse, have always been more concerned with big ideas rather than little details. Employing an elaborate series of torture devices masquerading as cautionary tales against wavering morality, the gruesome and the macabre have always been cloaked in somewhat thoughtful commentaries on sketchy ethics and selfish natures. It’s this combination of unflinching brutality and overt finger-pointing which drives the series; yet, in a way, it’s also what has condemned it to mediocrity. Saw 3D: The Final Chapter, like each of its predecessors, is so consumed with its inventive, big idea judgment scenes that it hardly bothers with the actual mechanics needed for a story to work. What’s left is a severely fragmented movie weaving principled savagery and awkward, thoughtless dialogue into an ultimately mediocre product. Fitting, yet sad in a way, for the supposed final installment that works overtime trying to tie a cohesive string through all that’s come before.
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Fantastic Mr. Fox
“Fantastic Mr. Fox” is a proudly analog animated entertainment, making its handmade way into a marketplace glutted with digital goodies. Next to the three-dimensional, computer-generated creatures that swoop and soar off the screen these days, the furry talking animals on display here, with their matted pelts, jerky movements and porcelain eyes, might look a little quaint, like old-fashioned wind-up toys uneasily sharing the shelf with the latest video game platforms.
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Let Me In
Let Me In is the English-language remake of the 2008 Swedish film Let the Right One In. From the beginning, there has been controversy associated with the "Hollywood-ization" of an edgy, ambiguous vampire tale because many die-hard adherents believed that much of what made Let the Right One In would be compromised in order to appeal to a mainstream American audience. There is some validity to this concern, and it is borne out in the product that has reached the screen. Putting that aside, however, Let Me In represents one of the best and most brutal vampire movies to come along in a while and, despite presenting a romance of sorts between a human boy and a vampire girl, it will not remind many viewers of Twilight. In fact, Let Me In is about as far away from Twilight as one can get, and that's a good thing.
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For some movies, timing is everything, but that's one thing Freshman Orientation doesn't have going for it. After languishing in distribution limbo for an astounding three and one-half years (it premiered under the name Home of Phobia at the 2004 Sundance Film Festival), this film has finally arrived in theaters. Unfortunately, it follows in the wake of Superbad, another rude-and-crude teen movie that raises the bar for the genre. In 2004, Freshman Orientation might have been near the top of a lame pack; in 2007, it's behind the curve. The problem isn't the dramatic material which, for the most part, is nicely handled. However, the "outrageous" comedy is consistently unfunny and sometimes bordering on cringe-worthy.
Freshman Orientation starts out on shaky ground, packing the first 30 minutes with a significant percentage of the failed humor. The over-the-top jokes feel forced and are often more awkward than amusing. Fortunately, after the uncertain beginning, the film's gradual shift toward more subtle parody and light drama redeems the final hour. The central relationship is developed with care and the movie addresses the issue of intolerance on college campuses (and, by extension, in society as a whole) without resorting to too much preaching. (There is one overt sermon but the irreverent punch line makes it somewhat forgivable.)
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Life Before Her Eyes
The Life Before Her Eyes is an examination of survivor guilt. It uses as its backdrop a Columbine-like school shooting and flashes back and forth between a girl as she is at the time of the incident and the woman she will be fifteen years later. Director Vadim Perelman is careful in the way he assembles the movie to create some uncertainty about whether the "present" represents the scenes with the girl (flashing forward to her future) or the scenes with the woman (flashing back to her past). However, although events occur in two separate time lines, the screenplay eventually connects them in a way that may not be entirely expected.
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The film opens in an amphitheater in Greece, with an appropriately-garbed Greek chorus chanting of the deeds of Achilles and Oedipus. Suddenly, unexpectedly, the masked men and women decide to switch to the tale of Lenny Weinrib (Woody Allen) -- definitely not a name known from mythology. And, as things go from slightly absurd to completely ridiculous, the Chorus, led by F. Murray Abraham, say things like "Oh cursed fate! Some thoughts are better left unthunk!" and breaking into verses of "When You're Smiling." And all this is accomplished with an appropriate level of pomposity.
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The first star vehicle of the summer of 1996 is also the first major disappointment of the season. Mission: Impossible, the big screen resurrection of the popular late-'60s/early-'70s series, fails to generate much in the way of excitement or intrigue. This globetrotting adventure looks like an opportunity for Tom Cruise to play James Bond -- a role he is totally unsuited for. The writing for last year's 007 return, Goldeneye, isn't a lot better than that for Mission: Impossible, but, as an action hero, Pierce Brosnan is considerably more debonair and charismatic than Cruise.
There's no Bond in Mission: Impossible. Instead, the lead character is Ethan Hunt, the point man for Jim Phelps' IMF (Impossible Missions Force). Phelps (played by Jon Voight, not Peter Graves) receives assignment messages from his boss, Kittridge (Henry Czerny), via video transmissions rather than old-fashioned tapes. His group's latest job is to prevent something called a "NOC list" from falling into the hands of an international arms dealer (Vanessa Redgrave). If placed on the open market, the NOC list would put every United States deep cover agent in danger of exposure. However, when they embark on this mission, the IMF runs straight into an ambush where everyone is killed except Hunt and Phelps' wife, Claire (Emmanuelle Beart). Because he survives the carefully-orchestrated massacre, Hunt is suspected of turning traitor.
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Jamon, Jamon, a "tale of ham and passion" (and literally translated Ham, Ham) could perhaps be described as a "Grade B art film." Although possessing a biting wit and excellent sense of the offbeat, too much of Jamon, Jamon follows obvious paths. Had this been made in Hollywood, it would be on the fast track to the late night cable circuit.
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“Federation Protection”, a low-budget Action B-Movie, suffers more from lack of originality than anything else. It’s a good film, with a decent cast, an oftentimes clever screenplay, and better than average direction by Straight-to-Video veteran Anthony Hickox (“Hellraiser 3″). Essentially a remake of the big-budget “The Whole Nine Yards” with Bruce Willis and Matthew Perry, “Protection” suffers from d’jÃ vu but very little else. Although, considering that I found “Nine Yards” to be neither very funny nor exciting, and in general quite dull, would another crack at the same storyline be so bad?
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Ride Him, Cowboy
Ride Him, Cowboy was the first entry in John Wayne's "B"-western series for Warner Bros. Wayne plays John Drury, a handsome stranger who is blamed for a recent wave of barn-burnings. On the verge of being lynched, John is exonerated by the previously unconscious victim of the villains.
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The story of how Modesty got her name. !!! Swedish Subtitles!!!
A Roof Overhead
The decision taken by the hospitals council board of early releasing the neurotics and depressed, throw Mona 36 and Cathy 30 in the real world....
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Jesse Stone: Death in Paradise
Small-time police chief and struggling alcoholic Jesse Stone looks into the murder of a teen-age girl whose body is found floating in a local lake. The case brings the former LAPD cop up against the Boston mob and into the affluent world of a bestselling writer who exploits troubled teens.
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Set on the quiet campus of Yellowstream University, this comedy follows the rivalries that build between two of the colleges fraternities. When theyre not mooning everyone they pass and throwing garbage on the lawns of rival frats, the members of the Pi Kappa Delta fraternity are mainly interested in drinking and... well, drinking. When a campus- wide farting contest is announced, Grossout, the leader of the Deltas, is all too eager to stand up, bend over and defend the honor of his fraternity.
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This movie, based on the cult Broadway musical of the 60s, tells a story about Claude, a young man from Oklahoma who comes to New York City. There he strikes up a friendship with a group of hippies, led by Berger, and falls in love with Sheila, a girl from a rich family. However, their happiness is short because Claude must go to the Vietnam war.
Girl Walks Into a Bar
A dentist teams up with a feisty would-be assassin to put the final touches on the plan to kill his wife. Once he makes a play for the assassins payment, he unknowingly sets off a chain of events that fuels a cross-town journey through the many lounges, bars, strip clubs and the occasional nudist ping pong club scattered across Los Angeles. Along the way, we are introduced to a series of idiosyncratic characters, from gangsters to exotic dancers, from ex-cons to cops, with the odd hatcheck girl and bartender thrown in for good measure.
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