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The Last Airbender
The title Avatar isn't the only thing that The Last Airbender has lost in its transition from the small-screen world of animated television to the realm of would-be franchise feature filmmaking. Also gone, unfortunately, is any semblance of heart or drama or, really, anything of interest at all.
The film is notable because it is the first attempt by the once mighty M. Night Shyamalan to make a big-budget, effects-heavy fantasy film -- and one based on preexisting material at that. The Sixth Sense writer-director had once been known for crafting his own smallish but memorable thrillers, but as his work's quality has grown increasingly dismal in recent years (see Lady in the Water or The Happening… or rather, don't see them), Shyamalan finally decided it was time for a change of pace. Alas, this new direction does not seem to have revived his former great potential.
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Aftermath: Population Zero
While the special effects are entertaining in some cases, that is far, far overwhelmed by the sheer exaggerations, assumptions, and out right fabrications perpetrated by the creators of this farce. This program is clearly geared to evoke a variety of politically correct responses to the fuzzy and questionable pseudo-science prevalent in society today.
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The Killing Room
Unremittingly gripping and unnerving, The Killing Room transforms a simple premise into a almost unbearably tense experience. As a departure from his gory 2006 remake of The Texas Chainsaw Massacre, director Jonathan Liebesman squeezes every little ounce of mind-game intrigue from the story of four strangers who sign up for a science experiment that turns out to be much more horrifying and deadly than they could have imagined.
Because The Killing Room involves luckless subjects forced to carry out the bizarre dictates of an unseen puppet-master, this thriller will undoubtedly draw comparisons to the Saw films, which feature an elaborate puzzle game that the victims must try to outsmart if they want to live. But unlike that horror franchise, The Killing Room mostly relies on psychological terror rather than blood and pain to produce its shocks. The film’s merciless treatment of its lab-rat characters will turn off some, but audiences who savour down-and-dirty genre thrills will find this darkly compelling.
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It's interesting to note that, as Kevin Smith has changed and matured as a filmmaker, he has elected to close the circle and look back from a perspective of a dozen years at the movie that put him on the indie map, Clerks. Clerks II is a direct sequel to that movie, albeit one that transpires a decade later - the first such movie Smith has done (although many of his films have featured cameos by characters from other pictures). It feels both the same as and different from its predecessor: the same, in that the script is constructed around a truckload of nearly X-rated gags, and different, in that Smith is peddling a message.
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Vikings vs. aliens -- you're either with it or not. It's a curious concept, likely greeted by one of two reactions -- either palpable intrigue or a total and utter lack of interest -- and even those intrigued know that a killer pitch can't stop a SciFi Channel level stinker from being just that (Sharks in Venice, anyone?). Well, rest assured that this version of that story, which opens in select markets today, isn't all hollow kitsch -- in fact, Outlander is probably the best possible version of whatever movie you've already made in your head from reading those first three words.
"El Mariachi" is the prequel to "Desperado". This is a low budget film and from what I understand; it cost less than $10,000 to produce. Although it lacks the big names and big money of the sequel, it clarifies and sheds light on the follow-up movie.
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As a bio-pic, De-Lovely is pretty standard, run-of-the-mill stuff (albeit with an interesting framing device). However, as a "best hits" collection of Cole Porter's music, it is unparalleled. With approximately two-dozen of his tunes performed by artists as diverse as Robbie Williams, Elvis Costello, Alanis Morissette, Sheryl Crow, and Natalie Cole, this is a treasure trove of music and memories. It's that, rather than Irwin Winkler's unremarkable presentation of Porter's life, which makes De-Lovely worth seeing. That, and the de-lightful performance of Kevin Kline.
Rarely has the question "What the hell?" been more appropriate. An uneven amalgamation of the brilliant and the preposterous, Constantine left me by turns intrigued, confused, and wary. The recipe calls for some ingredients that are compelling, others that are audacious, and others that are downright maddening. With a bold, dynamic visual style that fuses film noir elements with traditional horror motifs, Constantine can be considered many things, but dull is not amongst them. This is not a timid film, yet it's not an entirely successful one, either.
What a waste of a talented cast! There are times when it can be depressing to see so much acting potential wasted on a script unable to elicit the best from its stars, and this is one such occasion. Although The Greatest can boast a few excellent isolated scenes, the movie as a whole is a melodramatic mess - a mawkish and unconvincing tear-jerker that wants to say something profound about the impact of an unexpected death on a family, but falls so far short that comparisons to the likes of In the Bedroom and Ordinary People feel almost sacrilegious.
It's a genuine pleasure to come across a motion picture like The Last Samurai - a rousing tale that combines high adventure with emotional effectiveness. This movie works because it never loses sight of the characters no matter how epic the scope becomes. With its grand, sweeping battle sequences, lush cinematography, and gripping storyline, The Last Samurai already has a spot reserved on my end-of-the-year Top 10 list. In one category or another, it is also likely to catch the Academy's interest this winter.
Director Edward Zwick may be one of the most underrated filmmakers currently working within the Hollywood system. Over the course of a roughly two-decade career, he has helmed a masterpiece (Glory) and two near-masterpieces (Courage Under Fire and this one), as well as several lesser but still compelling movies. Zwick has also been a big name in television, sharing responsibility with his producing partner, Marshall Herskovitz, for the critically-acclaimed series "thirtysomething" and "Once and Again." That kind of resume alone makes one optimistic about any project with which Zwick has involvement.
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Mrs. Parker and the Vicious Circle
"[Dorothy Parker] was a groundbreaker in a lot of ways. In her day, to write captions and fashion stories was about all that a woman writer could aspire to. Dorothy had the respect of her peers. But she was also a critic, and I think she worked against herself as an artist in that capacity. We show her once with a note in her typewriter -- 'Oh God, please let me write like a man.' And what we really remember her for is how much like a woman she wrote."
- Randy Sue Coburn, co-writer, Mrs. Parker and the Vicious Circle
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The Foot Fist Way
Fred Simmons (Danny R. McBride) is a fourth-degree black belt in Taekwondo and runs his own dojo in a small North Carolina town. Fred styles himself a big shot, driving a Ferrari and extolling the virtues of Taekwondo to potential new students, but loses his confidence after he discovers that his wife, Suzie (Mary Jane Bostic) gave her boss a handjob after a drunken office party. In order to restore his confidence, he attends a martial arts expo to meet his idol, B movie action star Chuck "the Truck" Wallace (Ben Best) who in reality, turns out to be a dirty and drunken mess. After nearly brawling with Chuck's seedy friends, Fred persuades Chuck to make an appearance at his upcoming Taekwondo belt test and then parties with his friends and students in Chuck's hotel room. Fred returns home and sells his Ferrari to pay Chuck's $10,000 appearance fee. Shortly thereafter, Suzie returns to Fred after losing her job. On the night before the belt test, Fred catches Suzie having sex with Chuck on his own couch. Fred challenges Chuck to a fight, but is soundly beaten and driven off. The next morning, Suzie once again asks to be taken back, but Fred rejects her and urinates on his wedding ring. This occurs just after Fred warns Suzie that her attractive looks will eventually fade with age but not her abrasive personality. Fred arrives at the test late, battered and bruised, but with his confidence restored. When Chuck arrives for his appearance, Fred challenges him to a martial arts demonstration of board breaking, which he wins. At the following belt ceremony, Fred reads a new student pledge that he has written, which outlines the goals and responsibilities of Taekwondo. (The pledge is actually the oath of the International Taekwon-Do Federation.)
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A Knight's Tale
Set in late Medieval Europe in the 1370s, the story begins with the protagonists and squires, William (Heath Ledger), Roland (Mark Addy) and Wat (Alan Tudyk), discovering their master, Sir Ector (Nick Brimble), dead of bowel problems in the middle of a jousting tournament. He was ahead "three lances to none" and merely had to finish the final round to win the tournament and be awarded the money that was to buy food for them all. While Wat and Roland resign themselves to destitution now that they no longer have Sir Ector's employment and protection, William Thatcher takes the armour, and more importantly the helmet, from Sir Ector's body and poses as the noble to finish the match. William's inexperience is evident, as he receives a lance blow to the face mask, but regardless wins the tournament (and the money) due to Ector's previous lead. This gives William the idea that, with proper training, he and his companions could make a living in jousting. For a month, William trains with the help of Roland and Wat to improve his balance and aim. After many tries Will is able to joust properly and is therefore ready to compete.
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The Perfect Game
When Cesar Faz (Clifton Collins, Jr.) is laid off from his janitorial job with the St. Louis Cardinals he moves back to Monterrey. There he meets local children being led by Padre Esteban (Cheech Marin) enjoying baseball; he takes pitcher Angel Macias (Jake T. Austin) under his wing and brags about his own pitching skills and how he used to coach the Cardinals. Angel convinces Cesar to help recruit and coach Monterrey's first-ever Little League team. With Cesar's skills and Padre Esteban's support, the boys hone themselves into a competitive team worthy of international competition.
When the team arrives in the United States, they are met with racism, a language barrier, and visa troubles. Though the underdogs, the team scores a series of victories that endear them to the media, and new fans. They befriend a sports reporter, Frankie (Emilie de Ravin) and the groundskeeper, Cool Papa Bell (Louis Gossett, Jr.), who then assist the boys in reaching the final game.
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I Love You Too
A commitment-phobe and a New Ager buddy-up to win over the women of their respective dreams.
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Pat Riley, an obnoxious busybody of undeterminable sex, meets and falls in love with Chris, a sensitive, caring person also of undeterminable sex. Their relationship suffers because Pats a lout, and cannot decide on a direction for its life. Meanwhile, Pats neighbor Kyle falls further and further into obsession with Pat, fascinated by its indeterminate sexuality.
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