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The Bank Job
The workmanlike title “The Bank Job” is a nice fit for this wham-bam caper flick. Efficiently directed by Roger Donaldson from a busy script by Dick Clement and Ian La Frenais, it fancifully revisits the mysterious whos and speculative hows of a 1971 London vault cleanout on Baker Street labeled the walkie-talkie robbery. (The thieves squawked on the airwaves like crows.) It was headline news and, then, with a wave of the official wand, it was hush-hush. That’s one story, anyway.
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My Mom's New Boyfriend
Grown-up son living at home becomes angry and frustrated when his mom brings a new guy into the picture. Wait, didn't I just see this movie? Literally, a week ago?
Turns out My Mom's New Boyfriend has some differences with Mama's Boy, though it sticks closely to the overall shoddy quality level. This time out it's not a straight-up case of a son feeling betrayed. Writer/director George Gallo (DysFunktional Family) throws in a crime caper too. Henry (Colin Hanks) hasn't seen Mom (Meg Ryan) in three years due to his undercover duties as an FBI agent. When he returns home with a fiancee (Selma Blair), he finds that Mom hasn't just lost hundreds of pounds, she's also turned into a raving sexual lunatic, too. No sooner has Henry made his old bed than Mom gets mixed up with Tommy (Antonio Banderas), a known art thief... who Henry's been assigned to spy on!
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The Incredible Hulk
The new Incredible Hulk movie couldn’t be more different to its 2003 predecessor . . .
Few movies had as drastic a change in box office fortunes as Ang Lee’s 2003 Hulk movie. In its first weekend in the USA, Hulk earned a promising $62 million. The weekend after that it fell sharply to $18 million, and then to $8 million the weekend following that! Bad word-of-mouth sunk the film: it simply wasn’t what audiences expected. Walking out of cinemas screening it, the sheer disappointment amongst ten-year-old boys was palpable. Nothing had prepared them for the rather oddball art house flick meets superhero comic book that was 2003’s Hulk. All they wanted was to see was Hulk smash puny humans . . .
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The holiday season heralds the return of the "Madagascar" gang in "Merry Madagascar," a television special looking to produce a pinch of Christmas cheer to fans, admirers, and all of their patient parents.
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Untraceable engenders a reaction that is one part fascination, one part disappointment, and two parts frustration. The film, which has the ingredients for a thoughtful, tense thriller throws away a compelling first half so it can descend into silliness and clichés. For a movie that works overtime to establish credibility during its first half-hour, Untraceable leaves no predictable, formulaic stone unturned in its rush to a jaw-droppingly stupid conclusion. It's almost as if the filmmakers who made the first two acts were replaced by Uwe Boll collaborators for the final 40 minutes. Then again, it's possible to believe this of director Gregory Hoblit, who achieved something not dissimilar with his previous feature, Fracture.
When in Rome
Those who were regular viewers of Veronica Mars recognize there's an immense wellspring of charisma available to Kristen Bell that she has thus far been unable to tap in her post-Mars career. When in Rome, despite being a standard-order romantic comedy with little about it that could be considered fresh or original, finally provides Bell the opportunity to exude a little of that Veronica Mars charm on the big screen. She's paired with Josh Duhamel, who moderates the cockiness he displayed in Win a Date with Tad Hamilton and two Transformers movies to the point where he's appealing. The end result is an experience that, for all its predictability and strained attempts at screwball humor, is rarely unbearable and occasionally pleasant. Compared to January's other romantic comedy, Leap Year, this falls more solidly in the watchable zone. The reason is simple: Bell and Duhamel work as a pair while the duet of Amy Adams and Matthew Goode is as melodious as fingernails on a blackboard.
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Basic Instinct 2
Who would have imagined that the most appropriate word to describe Basic Instinct 2 would be "boring?" This plodding, pretentious follow-up to 1992's hit replaces Paul Verhoeven's lurid, over-the-top style with the leaden rhythms of Michael Caton-Jones (Rob Roy), a director who doesn't have a clue what a Basic Instinct movie should be about. By emerging from the niche in the exploitation genre carved out by the original, Caton-Jones has rendered the material inert. It's nearly impossible to endure the two hours that comprise Basic Instinct 2's running length not because it's dumb (although it is) and not because it's poorly acted (which it also is), but because it's lifeless. For anyone not jacked up on caffeine (minimum of two cups of strong coffee required), this is a guaranteed sleep-inducer.
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When it comes to remakes, I no longer ask "why?" but merely accept the inevitable. The reason always has more to do with greed and a lack of originality than a desire to re-create something out of affection or as an homage. To a certain extent, a remake of Halloween is as welcome as it is expected. Over the years, bad sequels have bled the concept so dry that it has become almost impossible to remember what it was about the first movie that made it such a touchstone of modern horror. The 2007 version of the film, while vastly inferior to John Carpenter's 1978 original, lets us travel back thirty years through the corridors of memory. Watching the new edition, we re-connect to the brilliance of the old one, even if what's on screen now is only a faded echo. This is not a good movie but, considering what Halloween has evolved into over the course of seven sequels, it's perhaps better than it has a right to be.
The Chronicles of Riddick
So says a character named Aereon in the opening moments of "The Chronicles of Riddick," a futuristic battle between a fascist misfit and a fascist master race. The opening shot shows a gargantuan steel face that looks like Mussolini after a facelift, and when the evil Necromongers rally to hail their Lord Marshal, it looks like they've been studying "The Triumph of the Will."
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Vampires aka John Carpenter's Vampires
The motion picture image of the Bela Lugosi vampire is gradually fading as '90s film makers bring their own visions of the undead to the screen. In recent years, we've seen reinterpretations of the vampire mythos in movies as diverse as Vampire in Brooklyn, From Dusk Till Dawn, Interview with the Vampire, Cronos, and Blade. John Carpenter's Vampires is just the latest, and, although it doesn't offer anything new or surprising, it is a moderately successful entry into the horror/thriller category.
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Charlie Sheen plays Ryan Turner, a hotshot broker living an upscale life in New York City with his shallow girlfriend Cindy Styne (Denise Richards). One morning, he is playing golf with the owner of one of the biggest newspaper publishers of New York.
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Adam (Leigh Whannell), a photographer, awakens in a water-filled tub and finds himself in a disused bathroom along with Dr. Lawrence Gordon (Cary Elwes), an oncologist. Both men are chained at the ankle to the pipes at opposite ends of the room. Lying between them is a corpse in a small pool of blood holding a revolver and a microcassette recorder. Adam and Lawrence learn from tapes in their pockets that Adam must escape the bathroom, while Lawrence must kill Adam before six o'clock, or he'll lose his wife and daughter and be left to die. Lawrence's tape also implies that the corpse between them was a similar victim who shot himself before succumbing to the effects of a poison. They find a bag containing two hacksaws, though neither is able to cut through the chains. Lawrence realizes that the saws are meant to be used on their feet.
What the Deaf Man Heard
Young 10-year-old Sammy Ayers and his mother Helen are on a bus trip. During a stop, his mother ventures into a bar, while Sammy is asleep on the bus. She is then assaulted as the bus leaves. At the last stop in Georgia, he is woken up and realizes that his mother has disappeared. He takes to heart her warning to "keep quiet." He is taken in by the bus station manager, Norm, and informally adopted by Lucille as the entire small town looks after him. As Sammy grows to adulthood, he pretends to be deaf and mute as a self-protective device. Over a 20-year period, he hears many secrets and confidences. However, when he hears something harmful he decides to take action, to protect the townspeople who have become his family, revealing his secret.
The Ira Gershwin/Kurt Weill song "My Ship" (sung by Bernadette Peters) is heard at the end of the film, as Sammy listens to a music box.
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Tells the story of a city girl who moves to a small town and becomes entangled in a love triangle between her high school teacher and a stoner classmate.
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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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Nowhere to Run
Escaped convict Sam Gillen single handedly takes on ruthless developers determined to evict Clydie - a widow with two young children. Nobody knows who Sam is.
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