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Legendary is the first in a line of several, softer, family-oriented movies that WWE Studios is releasing in an attempt to reach out to their TV PG audience and show a different side to their hand-selected superstar thespians. The core of this story – which is about a family splintered apart by survival guilt – works, but the execution is rough and contrived.
John Cena plays depressed former high school wrestling star Mike Chetley, while Devon Graye (teen Dexter from Showtime's Dexter) plays his younger "quirky" brother, Cal, who decides to join the grappling team with hopes of strengthening his spirit and re-uniting his family. Patricia Clarkson, as their quietly-tormented spitfire mom, Sharon, delivers a great, tangible performance that the movie itself almost doesn't deserve.
Percy Jackson & the Olympians: The Lightning Thief
It's surprising how under-utilized the legends of Greek mythology have been in modern Hollywood movie-making, considering their potential in terms of whiz-bang visual effects and action-adventure histrionics. Yeah, there's the upcoming Clash of the Titans, which if its anything like its namesake will be very liberal when it comes to fidelity to the original myths, and then there was Troy a few years back… which really wasn't doing Homer (or anyone else) any favors. But beyond that, the big screen has been pretty light on the ancient myths lately. 20th Century Fox, however, is hoping to change that with its new kid's-lit fantasy, Percy Jackson & the Olympians: The Lightning Thief. But is the new film a golden-egg laying goose, or a Pandora's box full of awfulness?
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Even those of us who habitually favor serious, austere, aesthetically correct drinks — single-malt Scotch, green tea, pomegranate juice, whatever — may occasionally indulge in a frivolous cocktail bedecked with fruit and umbrellas and served in a bulbous, sugar-rimmed glass. The next morning’s headache seems a small price to pay for the rush of cheap liquor and uninhibited conviviality. As long as you don’t operate heavy machinery or wake up in the wrong bed, or operate heavy machinery in the wrong bed, what’s the harm?
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King of California
King of California is the second movie opening this month to feature Evan Rachel Wood and, while it's better than the other one (Across the Universe), it's not that much better. Wood's performance is at about the same level, albeit without the singing. Here's she's paired opposite Michael Douglas, who plays her father. This is the art-house answer to National Treasure - it's about a mentally ill man who believes he has found a treasure map. The movie develops in two pieces - one dealing with the quest for the hidden riches and once concentrating on the relationship between father and daughter. The latter works; the former doesn't. The ending is touching without being too melodramatic.
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More than 30 years ago, the template established by Animal House for college age comedies became a recognized standard. However, although the Animal House approach is a good way to get cheap laughs, it falls apart when anything more substantive is desired. It's increasingly rare for a filmmaker to trust an audience enough to build this sort of comedy around intelligent, believable characters in which the humor evolves organically out of the story and the relationships. Too often, artificial set pieces are shoehorned into an otherwise low-key narrative for the sole purpose of amping up the laugh quotient. Greg Mottola, whose Superbad exhibited some of this behavior (particularly in the scenes with "McLovin'" and the two cops) has taken a leap of faith with Adventureland. The result is a sharp, insightful, charming motion picture.
50 First Dates
50 First Dates offers viewers a kinder, gentler Adam Sandler. Gone (at least for one movie) is the narcissistic adolescent caught in a perpetual state of arrested development. In his place is a likeable goofball whose rough edges are worn off by a force more effective than sandpaper: falling in love. Although there are moments that will tickle the bellies of longtime Sandler fans (one of which involves gallons of walrus vomit dripping from an individual of indeterminate sex), 50 First Dates is sweet enough to capture the attention, and perhaps affection, of those who would not ordinarily see a movie headlined by this particular star. The fact is, 50 First Dates is more of a romantic comedy than an Adam Sandler comedy.
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Goodbye Solo is a simple character drama that chronicles the interaction between a man who wants to end his life with dignity on his own terms and the Good Samaritan who believes there must be another way. On the surface, Goodbye Solo might appear to be cut from the same cloth as The Odd Couple, but Ramin Bahrani (whose previous features were Man Push Cart and Chop Shop) has fashioned something more subtle and sophisticated than a traditional "buddy movie." The movie is less about friendship than it is about respect and understanding. The lack of melodrama coupled with moments of quiet celebration make Goodbye Solo a more uplifting tale than one might expect with such a less-than-joyous premise.
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The question of whether actor George Reeves committed suicide or was murdered will go down in history as one of Hollywood's great unsolved mysteries. Allen Coulter's Hollywoodland, a fictionalized account (it uses both apocryphal stories and confirmed events) of an investigation of the death, presents the three most common scenarios but, taking a page from Rashomon, it never settles on one. The film is balanced in its presentation of the evidence for and against suicide. Ultimately, however, Hollywoodland is only peripherally about the life and death of George Reeves. The film's real main character is a seedy P.I. who attacks the mystery and, by chasing Reeves' ghost, finds his own path to redemption.
There was a time when David Lynch made coherent, challenging motion pictures. Love it or hate it, there's no doubt that Blue Velvet was one of the most talked-about motion pictures of the 1980s. Some consider it to be a masterpiece, while others view it as exploitative trash. Nevertheless, at least the narrative makes sense. The script requires the viewer to pay attention, but everything ties together in a sensible manner. Something similar could be said about Lynch's next outing, Wild at Heart. It's a little more out there, but still not totally outrageous. Next came "Twin Peaks", the television series that started out as one of the most compelling hour-long dramas ever to air on a network before devolving into silliness. Lost Highway followed on the heels of Twin Peaks: Fire Walk With Me, with neither picture telling a linear or comprehensible story. The Straight Story seemed to put Lynch on a different course, but, with Mulholland Drive, the filmmaker is back to his old tricks.
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Night Falls on Manhattan
Into the calm before the box-office storm of The Lost World rises Night Falls on Manhattan, Sidney Lumet's triumphant return to worthwhile movie-making. The director of such memorable films as Serpico, Dog Day Afternoon, and Network has been in a slump since the 1990 release of Q&A. His last two movies, A Stranger Among Us and Guilty As Sin, have been unworthy of Lumet's talent and reputation. Fortunately, with Night Falls on Manhattan, which is based on a fact-inspired novel by New York writer Robert Daley, the film maker is again in top form.
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In 1954 Queens, New York, three brothers -- Mac (John Turturro), Vico (Michael Badalucco), and Bruno (Carl Capotorto) -- after having a few bad experiences working for others, decide to band together and create their own construction business. Their first major project, building four houses, requires such devotion and painstaking effort that it pushes their close relationship to the breaking point.
Barry Levinson had an idea, and a pretty good one at that: take an actor, have him assume the role of a vigilante, and, as public adulation of his assumed personae escalates, blur the line between being a vigilante and acting the part. Unfortunately, the idea is all that Levinson had, because the final result -- Jimmy Hollywood -- is a somnolent mess.
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He may be able to turn somersaults 6ft above the ground, dice furniture with his fists and crack a winning smile when called upon... but can Jackie Chan carry a movie?
His biggest success - the Rush Hour series - substantially relied on his chemistry with Chris Tucker and the latter's ability to deliver a funny line.
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My Super Ex-Girlfriend
After foiling a purse snatcher who tries to steal her purse, Matt (Luke Wilson) starts dating shy stranger Jenny Johnson (Uma Thurman), whom he meets on the subway, thereby becoming Jenny's "hero". After several dates, Jenny displays increasingly neurotic and aggressive behavior, becoming more demanding and ultimately injuring Matt and destroying his bed the first time they have sex. Soon after, Jenny reveals to him that she is in fact the voluptuous blonde superheroine, G-Girl, who accidentally absorbed powers such as flight, superhuman strength and speed, invulnerability, super breath, heat vision, and super senses after she was exposed to radiation from a crashed meteorite as a teenager. Jenny starts to become more controlling after she reveals her powers and Matt starts to lose his mind.
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Danny Bhoy: Live at Sydney Opera House
Danny Bhoy recently spent six months touring Australia and New Zealand and charmed the sell-out crowds with his effortless talent for storytelling and mischievous wit. As his popularity continues to grow internationally (Bhoy recently toured India), it was inevitable that a DVD recording of his sell-out show was on the horizon and thankfully this anticipated DVD release from Madman Laughs does not disappoint.The shows at the Sydney Opera House would mark the final leg of the Australian tour for the comedian, and as such all he has learned and observed about Australia is the main subject of the show. From confessing to his love of watching Parliament Question Time, to recalling his shocking discovery of just who is Humphrey B. Bear and detailing his eventful night in a Brisbane bar at closing time, Bhoy appears in command of the prestigious stage. Amongst the observational humour there is also Bhoys classic routines about the different Breakfast cuisines, his admiration of Scottish culture and the religious joke which resulted in a death threat.
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Kiss the Bride
Thomas and Robin are deeply in love and ready to spend the rest of their lives together. Nothing will stop this wedding from happening, not even overprotective feuding mothers, a missing father, and a mischievous teenage sister. However, this couple is about to face their biggest challenge. While Robin believes she is marrying the perfect man, Thomas is consumed with guilt about a past infidelity. The not-so-perfect couple s love for each other is put to the test in this irresistibly genuine comedy about love, commitment and the power of forgiveness.
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