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Children of the Corn
The original Children of the Corn (which is actually the second adaption of the story) was no masterpiece by any stretch of the imagination. It barely followed the plot of Stephen King's original short story and it had very little replay value. But, despite its many flaws, the film is surprisingly memorable, which is why it's become something of a cult hit over the years. There are ideas within the film's bowels that prove scary and effective. And even though it's not an accurate representation of the original King story, it is one of the scarier adaptations out there.
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Cloudy with a Chance of Meatballs
Since its earliest days of development, the value of most computer animation was judged by how accurately it represented or substituted for reality: are skin tones believable, are textures authentic, is motion natural or smooth? But at least as far as animated movies are concerned, many (including lots of audience members) have forgotten that many of the medium's best examples were ones where abstraction and exaggeration were a big part (if not the biggest) of their artistry; notwithstanding feature-length classics like Snow White or Dumbo, filmmakers like Chuck Jones and Tex Avery entertained audiences by expanding their imaginations with punch lines, characters and even worlds that were anything but realistic.
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A television reporter unearths a shocking secret while investigating the horrific murder of two rural Wisconsin twins in this reality shocker purportedly assembled from the found footage of a missing news crew. Meredith Phillips thought she had found the story that was going to make her famous. But now the deeper she probes for facts, the more obvious it becomes that she's digging her own grave. When the terrifying truth is finally revealed, it will already be too late for Meredith and her crew. For the rest of us, the horror has only just begun. ~ Jason Buchanan, Rovi
We all know the phrase "Keeping up with the Joneses," and so does first time writer/director Darrick Borte, who has used that as the basis for his debut, called (appropriately enough) The Joneses. The subject matter is simple enough: Borte has elected to highlight modern society's materialistic and status obsessions while at the same time postulating how out-of-control marketing campaigns have become. In a sense, consumers have become like children - see something, want something. Credit card debt is out of control because people can't restrain their buying impulses. However, despite a brilliantly cynical premise and a delicious start, the film eventually wilts like a lily left out in the noonday heat. Like too many satires that start out with santoku-sharp edges, the blade dulls because the filmmakers don't hone it as the third act approaches. A desire to be likeable and perhaps appealing to mainstream audiences causes The Joneses to fade before eventually imploding. The biggest gaffe: a late-inning sermon delivered by David Duchovny. The problem has less to do with his preaching ability than with the recognition that the message would be better left unsaid. Is Borte so uncertain of his skill that he has to spell out everything letter-by-letter? Whatever happened to subtlety?
We have reached the Season of Natalie Portman. With no fewer than six movies due to be released within a six-month period (Black Swan, The Other Woman, No Strings Attached, Hersher, Your Highness, Thor), a confirmed Golden Globe nomination (and probable win), a likely Oscar nomination (and possible win), a pregnancy, and an engagement, Portman has suddenly become ubiquitous. IFC has elected to distribute and market The Other Woman in anticipation of Portman receiving a Best Actress Academy Award nomination for Black Swan. (It will run on Video on Demand beginning January 1, 2011 and will open in limited theatrical distribution on February 4, 2011.) Otherwise, this film likely would have been headed for obscurity. It's not good enough to warrant a theatrical showing but not bad enough to deserve universal derision. Riding Portman's Oscar coattails will increase its profile, and Portman is neither good enough nor bad enough in The Other Woman for her performance to impact her chances for Black Swan. This won't be another Norbit. (That movie, released during the Oscar voting period when Eddie Murphy was nominated for Dreamgirls, is widely credited for killing the actor's chances of taking home a gold statuette.)
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I Now Pronounce You Chuck and Larry
It would be interesting to know what contribution (if any) credited screenwriter Alexander Payne (Election, Sideways) made to the final draft of I Now Pronounce You Chuck and Larry. Except for the cloying, strident preachiness of the third act, this seems to be a standard issue Adam Sandler outing, with occasional bouts of laughter becoming bogged down by sophomoric jokes that aren't as funny as the production team expected them to be. Perhaps concerned that the overload of gay jokes might offend some audience members, I Now Pronounce You Chuck and Larry turns into a full defense of gay rights and an applause of gay culture, including appearances by Lance Bass and Richard Chamberlain. It's a shock to the system when this example of puerile comedy turns into a pulpit-pounding sermon. The film's sledgehammer approach makes it more immature than earnest.
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Nil by Mouth
There is a scene in Nil by Mouth, actor Gary Oldman's directorial debut, that is excruciatingly difficult to watch. It's not especially graphic, since the gruesome details take place out of frame, but anyone with an imagination can conjure up an image to chill the blood. The sequence depicts a particularly brutal instance of spousal abuse, and is perhaps only recently rivaled in intensity by a similar occurrence in Once Were Warriors. One might think that movie-goers, inured to explicit on-screen violence, would not flinch at what Oldman presents, but there's a major difference between the decapitations and eviscerations of a Starship Troopers and the savageness of Nil by Mouth – the former plays like a comic book come to life; the latter is shockingly real.
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Dracula: Dead and Loving It
When it comes to spoofs of horror films, one of the greatest of all time is surely Mel Brooks' Young Frankenstein, a movie that's as clever as it is funny. Now, more than two decades later, Brooks has attempted to re-create the magic by doing to Bram Stoker's vampire legend what he did in 1974 to Mary Shelly's gothic tale. Alas, Dracula: Dead and Loving It doesn't come close to the level attained by Young Frankenstein. It's a toothless parody that misses more often than it hits.
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Former LAPD cop, Dakota Varley (played by UFC champion Bas Rutten), enters a power boat race seeking the prize of 250,000, but immediately discovers, first hand, that this races risk matches the prize one racer is killed, 3 others seriously injured in multiple action-packed crashes and explosions.
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A futuristic, sensitive tale of adventure and confrontation when a 10 year old boy is accidentally kidnapped by a spaceship filled with a motley crew of space pirates.
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In 2002 German police arrested Armin Meiwes for posting an Internet message looking for a male who would allow Meiwes to eat him. To their horror authorities found a video tape showing that in 2001 Meiwes had found a willing victim in Bernd Brandes. Though the video showed the graphic killing of Brandes the German courts were faced with a quandary since Brandes had agreed to allow Meiwes to eat him. The subsequent trial and media attention brought up many questions ranging from freedom of speech on the Internet to debates about consensual homicide. In 2005 German filmmaker Marian Dora made a highly stylized dramatization of the case CANNIBAL.
After a sexual harassment incident, Dennis Burke, a Nathaniel Hawthorne scholar, goes to work at a California college. He begins correspondence with an imprisoned murderer, Lydia Davis. Burke is finding old habits hard to break, developing relationships with obsessive coeds. Meanwhile, Lydia escapes from prison. Dennis and his colleague Thurston, a computer scientist and hacker, find themselves caught in a web of intrigue.
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Tommy Fawkes wants to be a successful comedian but his Las Vegas debut is a failure. He goes back to Blackpool, UK, where his father, also a comedian started and where he spent the summers of his childhood. He starts to search for a partner, a comic relief, with whom he can be famous.
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Jack the Ripper
During the latter half of 1888 a notorious serial killer nicknamed Jack The Ripper terrorises the East End of London by murdering prostitutes in a terribly violent way. Public outrage follows. Inspector Frederick Abberline is assigned to the case but finds that it is not just a simple murder enquiry. Based on a real life event, this film claims to have had access to top secret Home Office files and believe that their ending is the correct solution to the age old mystery.
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Beautiful Carmen Colson and her ironworker husband Wayne are placed in the Federal Witness Protection program after witnessing an extortion scheme go wrong. Thinking they are at last safe, they are targeted by an experienced intimidating hit man and a psychopathic young upstart killer. The ensuing struggle will test Carmen to the limit.
Gwyn Marcus has always wanted a marriage like her parents. She has just accepted the proposal of her boyfriend Matt, but she has misgivings about their future together. Her fear of commitment grows as she learns of the various affairs that her family is having. With her sister getting married and her brother already married, her mother is growing concerned about Gwyns being the last single person in the family. But the more she thinks about marriage, the more she must search for the balance between career, marriage and family.
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