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Susanne Bier's 2005 melodrama, Brothers, was just that, a simple soap opera between a war vet, his wife and his brother, and while Jim Sheridan's update isn't terribly different at its core, its all-American setting quietly places a firmer emphasis on the toll of our current war at home.
Love in the Time of Cholera
“Love in the Time of Cholera” sets itself the elusive task of translating Gabriel García Márquez’s masterpiece of magical realism into an upscale art film with popular appeal. Faithful to the outline of the novel but emotionally and spiritually anemic, it slides into the void between art and entertainment, where well-intended would-be screen epics often land with a thud.
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Red White & Blue
In Austin Texas, the lives of three young people Erica, Franki and Nate intertwine in a fateful, tragic way and head down a rocky and violent road to heart-rending oblivion. Erica (Amanda Fuller) lives rent-free in the local co-op, but spends her nights trawling the bars and beds of Austin. Damaged, emotionally withdrawn, never really connecting with anyone, and sleeping with multiple men is just what she does until she meets the older and mysterious Nate (Noah Taylor), working in a hardware store, but with an honorable discharge from Iraq.
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Miss Pettigrew Lives for a Day
Amy Adams must enjoy fairy tales - this is the second one in which she has appeared during the last six months. Although Miss Pettigrew Lives for a Day differs substantially in many key areas from Enchanted, both movies are anchored by Adams, whose beauty, charisma, and infectious energy make them compulsively watchable. Miss Pettigrew is a female buddy movie frosted with elements of whimsy and a little romance. Its setting of London during the latter years of the Great Depression allows its fanciful edge to meld with a bittersweet element of nostalgia. (Odd how one of the most widespread periods of human suffering during the 20th century has been romanticized over the years.) Miss Pettigrew is a feel-good production that strives and succeeds to put smiles on the faces of its viewers.
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I have never understood the appeal of Jennifer Garner as an action/adventure star. Based on my limited exposure to her work, she's better in comedic or lightly dramatic roles (such as her turn in 13 Going on 30). Nothing that happens in Elektra has changed my mind. Although Garner was arguably the best thing about the lukewarm comic book adaptation of Daredevil, her character had limited screen-time, playing fourth fiddle to Ben Affleck, Michael Clarke Duncan, and Colin Farrell. The translation from supporting character to lead doesn't go smoothly. Garner has difficulty carrying this movie, although the weakness of the script could be part of the reason.
Warning: Significant spoilers starting in Paragraph #4. (But, in a case like this, do plot details really matter?)
Danish filmmaker Lars von Trier has gone from Dogma to Dogville. The director's latest, a three-hour political allegory, has fueled controversy world-wide. This is, of course, von Trier's intention, since his ego needs this kind of attention to remain in its bloated state. Nevertheless, although the movie's self-importance causes the project to take on water, it fails to sink it. Dogville isn't for everyone, but there's some intellectually stimulating conversation fodder for those with the patience to navigate the film's rough terrain.
Maybe it's my math/engineering background, but I found Proof to be fascinating both on the stage and on the screen. Actually, appreciation of the film demands little math knowledge (aside from recognizing that a "proof" is a logical set of equations designed to explain and defend the veracity of a theorem). Proof is less about math than it is about the ins-and-outs of intellectual property and the relationships of one women to those around her (father, sister, lover).
When we first meet Catherine (Gwyneth Paltrow), it's the day before her father's funeral. During the last years of his life, Robert (Anthony Hopkins) - once a revered mathematician - was caught in the grip of dementia, with Catherine as his lone caregiver. Now, with his death, her sister, Claire (Hope Davis), has jetted in from New York City to pick up the pieces and bring Catherine back with her. And her father's dissertation student, Hal (Jake Gyllenhaal), is poring over Robert's old notebooks, looking for something brilliant amidst all the ramblings. Meanwhile, Catherine, who believes she may have inherited her father's madness as well as his
Lives of Others
It's no secret that some of the most powerful dramas are those that depict character transformations. Such is the case with The Lives of Others, the stirring and affecting feature debut of German filmmaker Florian Henckel von Donnersmarck. With a deft hand, von Donnersmarck engages us in the life of a cold, dispassionate character then takes us on a journey that transforms him from detached observer to involved partisan. The film is careful to avoid overt melodrama but, at the same time, it engages the emotions. Perhaps the most remarkable aspect of the movie is the complexity and intelligence evident in the screenplay, which offers multiple valid interpretations for certain actions but never insults the audience by insisting upon one. A contender for the 2007 Best Foreign Language Film Oscar and major player in European and Film Festival awards, The Lives of Others is deserving of the accolades it has thus far obtained.
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Two for the Money
Two for the Money starts as a high voltage drama about the underbelly of the sports business - the multi-billion dollar gambling industry. The movie takes us into the warts-and-all world of 1-900 numbers and internet betting sites, bringing us on-board and suck(er)ing us along with the main character. For 60 minutes, Two for the Money is a great ride - compelling, informative, and thought-provoking. Unfortunately, around the half-way point, the melodrama kicks in, and the film's focus becomes increasingly murky. Original screenwriting gives way to clichés, and the resolution, while offering closure, seems false - too much a case of the filmmakers wanting to have their cake and eat it, too.
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The Orphanage is an effective mixture of horror and fantasy, with the supernatural bleeding into dreams that teeter on the brink of reality. It employs a similar, although not identical, approach to the one that marked 2006's late-year success, Pan's Labyrinth. It should come as no surprise, therefore, that filmmaker Guillermo del Toro, the director of Pan's Labyrinth, has lent his support to The Orphanage, allowing the opening credits and poster art to state "Presented by Guillermo del Toro." So his shadow looms large over the film and one can acknowledge that director J.A. Bayona and screenwriter Sergio G. Sanchez have learned well from him as they proceed down this unusual path.
I'm Not There
Few figures in 20th century music are more deserving of the label "enigma" than Bob Dylan. Reclusive, frequently misunderstood, and never pigeonholed into a niche, Dylan has remained a mercurial figure for the entirety of his long career. So when filmmaker Todd Haynes (Far from Heaven) announced he was going to make a film that would deconstruct Dylan, there was reason for optimism. Unfortunately, the muddled reality, called I'm Not There, doesn't live up to the promise. To capture the essence of a sometimes pretentious, occasionally unfathomable artist, Haynes has made a sometimes pretentious, occasionally unfathomable film. Dylan fans will love it for the music, but that's about all the production has going for it. In the end, many viewers will leave with two impressions: the music is as good as it always has been and Dylan is a bigger asshole than one might have suspected.
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Red Rock West
There's a fine line between coincidence and contrivance, and what characterizes that demarcation has more to do with enjoyability than believability. Red Rock West, a film consigned to cable and video until a Bay Area theater decided to give it a shot, has a number of plot elements that don't bear close scrutiny. Their presentation is so stylish, however, that there isn't any real incentive to start picking apart the story. Red Rock West works well on its own terms, and that's good enough for ninety-plus minutes of solid entertainment.
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Robin Hood is one of the first animated films produced by the Walt Disney Company after Walt Disney's death in 1967. For the film, the studio's animators took the Disney tradition of adding human-like animal sidekicks to established tales (Cinderella, Pinnochio) a step further by making Robin Hood's legendary characters creatures themselves. Robin Hood (Brian Bedford) is a wily fox; Maid Marian (Monica Evans) is a beautiful vixen
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Wayne Hayes (Redford), and his wife Eileen (Mirren) are living the American dream in a wealthy Pittsburgh suburb, having raised two children and built up a successful business from scratch. He is looking forward to a peaceful retirement with Eileen. However, everything changes when Wayne is kidnapped in broad daylight by a former employee, Arnold Mack (Dafoe). While Wayne tries negotiating with the kidnapper, Eileen works with the FBI to try to secure her husband's release. During the investigation, Eileen learns that Wayne has continued an extramarital affair that he promised to end months previously.
Eileen is eventually instructed to deliver the ransom to the kidnapper, but Arnold takes the money without returning her husband. As it turns out, Wayne had been murdered by Arnold the day of the kidnapping. Although Eileen's ordeal takes place over the course of a week, the film is edited to show Wayne's kidnapping as if was happening at the same time.
Mack is eventually caught when he begins to spend the ransom money in the neighborhood where he lives. At a local grocery store, he uses a $100 bill to make a purchase. The store manager calls authorities and verifies the serial number on the $100 bill is on a watch list the FBI distributed to local businesses. In the end, Eileen receives a loving note written by Wayne before his death.
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Kickboxer 4: The Aggressor
This fourth installment in the Kickboxer franchise takes you back into the brutal world of Muay Thai kickboxing champ Tong Po. Sasha Mitchell (TVs Step By Step, Kickboxer 2 3) returns as David Sloan to encounter his old nemesis once again. This time, David is framed for murder and sent to prison. While wasting in the slammer, David learns that his wife is kidnapped and held captive by Tong Po. When David agrees to help the Feds bring down Po, they release him under a new identity. He goes to Mexico to enter a championship martial art tournament held at Tong Pos fortress. The only way David can save his wife is to battle his way through the tournament, Pos henchmen and personal bodyguard (Thom Matthews - Friday the 13th Part VI Jason Lives, Return of the Living Dead 1 2) in a fight to the finish and finally put an end to Tong Po once and for all.
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Almost in breadth and depth of a documentary, this movie depicts an auto race during the 70s on the worlds hardest endurance course Le Mans in France. The race goes over 24 hours on 14.5 kilometers of cordoned country road. Every few hours the two drivers per car alternate - but its still a challenge for concentration and material. In the focus is the duel between the German Stahler in Ferrari 512LM and the American Delaney in Gulf Team Porsche 917. Delaney is under extraordinary pressure, because the year before he caused a severe accident, in which his friend Lisas husband was killed.
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