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When I think of director Richard Donner, my mind gravitates toward titles like Superman and Lethal Weapon - high points in the filmmaker's career. Recently, however, Donner's output has been less impressive, and includes the bloated excess of Assassins and the awfulness of Timeline. Sadly, 16 Blocks is not a film to recall the glory days. It's a cobbled together mess of clichés that fails to surprise at any of its turns. Despite occasional bursts of suspense, the movie as a whole plays out as a long 95 minutes, with its lack of inventiveness leading us more frequently into tediousness than tension.
16 Blocks is a high concept movie: a broken-down cop (Bruce Willis) is charged with taking a criminal/witness (Mos Def) on a 16 block trip through New York City, from a police lockup to a courthouse. Along the way, they become targets of dirty cops (led by David Morse) who are anxious to silence the witness. Plus, there's a time element. If the testimony doesn't happen by 10:00 am, the Grand Jury will be disbanded and the cops will be free. Once could see how this premise could result in a white-knuckle thriller. Or a bore of a retread. 16 Blocks comes closer to the latter.
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The Transporter movies remind me of the Bond films of the '70s and '80s, in which each new installment tried to one-up its predecessor in terms of inventive and outrageous action set pieces. Without a doubt, Transporter 3 offers more innovative ways in which to defy the laws of physics than Transporter or Transporter 2, but it lacks more than a semblance of a coherent plot. And director Olivier Megaton (what a name for an action director…) has succumbed to the belief that an action scene isn't good if the viewer can figure out what's going on. Because of this, Transporter 3 is the most frustrating entry into a series that has never set the bar terribly high.
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5x2 is a departure for François Ozon, at least from his recent films. This is a simpler, more basic story than Swimming Pool or Under the Sand, and does not star either Charlotte Rampling or Ludivine Sagnier. Throughout his career, Ozon has delighted in switching genres and tones from film-to-film. He has done everything from dark, psychological thrillers to jaunty musicals. 5x2 takes him in yet another direction: the romantic drama. And it's another winner, at least for those who appreciate this sort of adult material and the unhurried pace applied by the director.
The problem with X2 is essentially the same one that plagued X-Men: too many characters, resulting in too little screen time for each one. X2 may be the most ambitious superhero motion picture to date, but it doesn't work quite as well as Spider-Man or Superman, both of which are, in some ways, inferior. The reason is simple: in those movies, we get into the skin of the protagonist, whether it's nerdy Peter Parker or bumbling Clark Kent. In X-Men and its sequel, there are simply too many heroes running around. Unless you're a fan of the comic book series, you need a cheat sheet to keep them all straight – and that doesn't count the cameos (Colossus, Kitty Pride, Jubilee, etc.).
To be fair, X2 does a better job than X-Men, primarily because it isn't saddled with the baggage of having to introduce everyone. The only new major mutant is the blue-skinned teleporter Nightcrawler (Alan Cumming); everyone else is a returning player. Nevertheless, most of the X-Men come across as no more three-dimensional than their comic book counterparts. There are a few exceptions, with tough guy Wolverine (Hugh Jackman) and telepath Jean Grey (Famke Janssen) leading the way. And one could make a case for teenager Rogue (Anna Paquin) and arch-villain Magneto (Ian McKellan). But there's still a lot of underused talent. Patrick Stewart (as Professor X, who runs the show), for example, is completely wasted, as is Halle Berry (as weather-controlling Storm). James Marsden's Cyclops, with his laserbeam eyes, has about the same amount of paltry screen time as he had in X-Men. Shapeshifter Mystique (Rebecca Romjin-Stamos) gets more exposure, but her personality remains a black hole.
Eye of the Dolphin
Eye of the Dolphin is a family drama that will appeal to anyone who likes movies with the hard edges blunted and the narrative bumps smoothed. There's real heart to be found in the story but it comes along with borderline saccharine sentimentality, a too facile ending, and clean outcomes that aren't earned. The film's final scenes frustrate, not because bad things happen or subplots are left hanging but because there's a sense that the movie has cheated us by substituting a resolution of convenience instead of one of substance. Among its assets, Eye of the Dolphin counts wonderful photography (both above and below water) and an effective performance by leading actress Carly Schroeder. Tween and teen girls will identify with her and the character she plays, and this makes the movie targeted strongly at them. Older viewers who are hoping for something with more heft may be disappointed.
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In Envy, the "Va-poo-rizer" is a liquid that, when sprayed on animal fecal matter, causes the offending substance to disappear. Would that such an invention existed to use on this motion picture… It's remarkably appropriate that Envy is about turds, because that's what the movie is.
If he's not at the top of the list, then Barry Levinson is one of the contenders for the title of "Most Inconsistent Working Director." It boggles the mind that the man responsible for such wonderful cinematic fare as Tin Men, Avalon, and Wag the Dog is also on the hook for Toys, Sphere, and Envy. This movie has languished on its distributor's shelves for a long time. Now, having experienced this 99-minute endurance trial, it's not hard to understand Dreamworks' reluctance to release it. The unanswered question is how something this awful could be greenlighted in the first place.
Forgetting Sarah Marshall
With The 40-Year-Old Virgin, Judd Apatow succeeded in an endeavor that foiled many of the more accomplished directors to precede him: the merging of the romantic comedy, a quintessential "female genre," with the raunchy comedy, a quintessential "male genre." The result had broad appeal, especially among college-age adults. Apatow used the same basic formula to similar effect for his follow-up, Knocked Up. Now, at least temporarily, he has passed the baton to one of his buddies, former Freaks and Geeks cohort Jason Segel. Forgetting Sarah Marshall, written by and starring Segel and directed by first-timer Nicholas Stoller, is at least as good as the two Apatow-directed movies, with a script that might be both a little sharper and a little more romantic.
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In May 1962, dozens of wealthy passengers enjoy dancing in the luxurious ballroom of an Italian ocean liner, the Antonia Graza, while a beautiful Italian woman (Francesca Rettondini) sings "Senza Fine." Away from the party, a hand presses a lever that unravels a thin wire cord from a spool. Suddenly, the spool snaps and the wire slices across the dance floor like a blade, bisecting the dancers. Only little Katie (Emily Browning) — who is dancing with the Captain — is spared, thanks to her small stature and to the captain leaning protectively over her. She looks up at the Captain's face, which splits open at mouth level as the top of his head falls off. Katie screams and the film cuts to the present day.
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In 1998, the family of the late Roger Maris are preparing to go to Busch Stadium to watch Mark McGwire of the St. Louis Cardinals break their father's record with 62 home runs. Before the game, Maris' widow, Pat, is hospitalized due to complications from arrhythmia and watches the game on television from a hospital bed.
The Last Drop
The film is set in the backdrop of World War II, during Operation Market Garden, the largest full scale airborne invasion in history. Corporal Powell (Newbon), an undercover British Intelligence officer, has been given command of a small unit of men, codenamed Matchbox. Their assignment is to retrieve a horde of Dutch gold and art treasures that has been plundered by the Nazis and is now headed for Berlin in a seemingly impregnable safe. Simple enough, but when Matchbox is shot down short of the drop point their plan goes awry and Powell is forced to recruit the assistance of several colorful characters, including a smart mouthed petty thief (Moran), a drunken bomb disposal expert (Flanagan), and a smooth talking pilot with a keen eye for smooth ladies (Zane).
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The Shell Seekers
Artists daughter Penelope Keeling can look back on a full and varied life a bohemian childhood in London and the wilds of Cornwall...
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An economically repressed young man (Bondo) loses his father in his attempt to cross the border (to send money home) at Tijuana, Mexico. As Bondo sets out on his own, he encounters an array of people holding him back, including the Chief of TJ policia that killed his father, that now wants him dead too. After a deadly attempt at crossing the boarder himself, he resourcefully constructs a flying machine out of a wheel barrow and navigates himself to the Santa Monica pier. There he will begin to complete his fathers dream.
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I Can't Think Straight
In the upper echelons of traditional Middle Eastern society, Reema and Omar prepare for the marriage of their daughter Tala. But back at work in London, Tala encounters Leyla, a young British Indian woman who is dating Talas best friend Ali. Tala sees something unique in the artless, clumsy, sensitive Leyla who secretly works to become a writer. And Talas forthright challenges to Leylas beliefs begins a journey of self-awareness for Leyla. As the women fall in love, Talas own sense of duty and cultural restraint cause her to pull away from Leyla and fly back to Jordan where the preparations for an ostentatious wedding are well under way. As family members descend and the wedding day approaches, the pressure mounts until Tala finally cracks and extricates herself. Back in London, Leyla is heartbroken but learns to break free of her own self-doubt and her mothers expectations, ditching Ali and being honest with her parents about her sexuality. When Ali and Leylas feisty sister Zara help throw Tala and Leyla together again, Tala finds that her own preconceptions of what love can be is the final hurdle she must jump to win Leyla back.
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In the quiet town of Derry, Maine, Seven freinds, Bill, Eddie, Mike, Bev, Stan, Richie and Ben (the losers club) have all been seeing and hearing strange things. Most of which revolve around a Clown called pennywise in which they all admit being real, the kids eventually discover that the leader of the club, Bills little brother fell victim to this evil. The group sets out to stop the force and put it to rest once and for all. 30 years after defeating IT, Mike Hanlon, the only Member who remained in derry, is suspecting that IT has returned and is forced to call back all of the Losers club, due to a promise they all made to return if its evil shall ever resurface. Uncovering new powers, clues and evil the club reunites as adults and come face to face with the evil that has haunted and fed on derry for the last centuries.
Gloria Goodfellow has a normal life in the countryside along with her family. Shes the mother of two children, one precocious teenager girl and a timid boy, whos been bullied by a bunch of kids from his school. Occassionally, their peace is disrupted by a neighbors annoying dog or a meddler neighbor. Glorias husband, Reverend Walter Goodfellow, is a clumsy but well respected priest, whos preparing to give a speech in a religious convention at Cornwall. One morning a charming, efficient and quite kind lady, Grace Hawkins, arrives to work as a housekeeper at the Goodfellows house. The familys life will change forever, because Grace will care for its integrity in her own special way. First, Grace will help Walter to relax and find his funny side during masses. Then, Grace finds out that Gloria is having an affair with her golf instructor, a sort of pervert American man, interested in Glorias daughter as well. Last but not least, Grace will manage herself to get rid of the bullies who are giving a hard time to Petey. Despite this ideal reality, Gloria will discover a secret that Grace has been hiding... for more than 40 years.
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New York City Serenade
Two down on their luck childhood friends struggle to figure out their lives. Ray a drummer in a rock and roll band, and Owen an aspiring film maker spend most of their time working menial jobs and drinking. When Owens fianc Lynn breaks off their engagement he finds himself spiraling, and allows Ray to come along with him to a two bit film festival he has been invited to in Kansas. There Owen makes several attempts to patch up his relationship, while Ray scams them into a deluxe suite at the local Four Seasons hotel by posing as Wally Shawns son (who happens to be receiving a lifetime achievement award) and generally causes a major ruckus. By the end, Owen decides to make some changes in their relationship and in his life.
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