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Trumpeted by its own marketing as "the Asian-American Boyz n the Hood," Baby suffers somewhat in comparison. Yes it is a vicious and violent gang flick set on the scruffy streets of a crummy LA neighborhood, but while Boyz had some deep emotional underpinnings (remember when Cuba Gooding Jr. mattered?), Baby goes for the gun every time, and as the bodies pile up, the viewer's main response is shell shock.
Eagle vs. Shark
Eagle vs. Shark appears to be vying for the Napoleon Dynamite audience. However, while there are superficial similarities, this production, from New Zealand writer/director Taika Waititi, is unlikely to achieve the same kind of embrace by geekdom that was lavished upon Jared Hess' feature. There are two primary reasons. In the first place, the semi-comedic tone of Eagle vs. Shark is more uneven than that of Napoleon Dynamite. The film offers some laughs but there are times when the dead zones between them are uncomfortable to endure. The bigger issue relates to the characters. Like the protagonist in Napoleon Dynamite, the main characters in Eagle vs. Shark are quirky and socially inept. Unfortunately, they are also morons, and it becomes increasingly difficult to care one way or another about characters who act like they have undergone frontal lobotomies.
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Guilt and paranoia - two powerful cornerstones of the human psyche. In his latest, award-winning drama (it has captured about a dozen significant international citations), writer/director Michael Haneke explores both, although the manner in which he weds them is more uneven than satisfying. With Caché, Haneke has a lot to say, but the weaknesses of the film threaten to overwhelm its strengths. This is one of those movies that will pit lovers of narrative filmmaking against those who view the medium as something potentially more esoteric. The way he toys with his audience indicates that Hanke falls into the latter category, and lapses of logic in his storyline don't overly concern him.
The Gift is an example of how superior craftsmanship can transform a ho-hum genre entry into a sporadically gripping thriller. On the surface, there's nothing special about this movie - it's a run-of-the-mill supernatural murder mystery with all of the elements one expects from this sort of a motion picture: ghostly apparitions, courtroom drama, red herrings, and an "unexpected" twist at the end. Yet, while the script, credited to Billy Bob Thornton and Tom Epperson, is strictly generic, the direction by Sam Raimi and the performances of a stellar cast are anything but that. As a result of their contributions, a film that might originally have been strictly palatable for late-night cable viewing has turned into something worthy of theatrical consumption.
Legend of Zorro
Some sequels are made too soon, while others are made too late. The Legend of Zorro, Martin Campbell's follow-up to his well-received 1998 feature, The Mask of Zorro, falls into the latter category. It's difficult to say whether the film would have been better had it gone before cameras three or four years ago but, by 2005, it feels creaky and out-of-date. The production is suffused by an almost desperate attempt to recapture the mood of its predecessor, but the tone is forced rather than natural, and the resultant production is bloated, contrived, and not very entertaining. The Mask of Zorro worked because of its engaging mix of action, romance, and comedy. The Legend of Zorro goes 0-for-3, striking out as it tries (and fails) to recapture the pleasure offered by the earlier story of the swashbuckling superhero.
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During the Spring of 1990, I remember being transfixed in front of the television set for an hour each Sunday night over a period of five weeks. The occasion was the "Masterpiece Theater" presentation of the British mini-series "Traffik", a complex narrative that explored the lifecycle of heroin - from its origins as opium in the fields of poor Pakistani farmers to its distribution across Europe and its use on the streets of England. Powerfully scripted and flawlessly acted, "Traffik" remains to date one of the most memorable programs ever to air on the venerable PBS showcase of British drama. Now, more than a decade after "Traffik" was produced, American director Steven Soderbergh and screenwriter Stephen Gagen have chosen to re-invent the mini-series as a theatrical motion picture. The result is a thematically faithful (albeit truncated) version that retains much of the strength and impact of the original.
Blues Brothers 2000
They're back, and this time they're not on a mission from God. Strictly speaking, however, only one of the original Blues Brothers has returned -- Dan Aykroyd's Elwood. His partner, Jake (played by the late John Belushi), died in prison, so now it's up to the survivor to find a new lead singer, re-form the group, hit the road, run from the police, and end up in a band competition to end all band competitions. Any similarities between the sequel and its classic inspiration are entirely intentional. In fact, in many ways, Blues Brothers 2000 is as much a remake as it is a follow-up. The familiar elements are certainly all there.
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Joe vs. the Volcano
John Patrick Shanley made a name for himself by scripting Moonstruck, the award- winning 1987 romantic comedy starring Cher and Nicolas Cage. Joe Versus the Volcano, a provocatively-titled, modern day fable, is his fourth script and first opportunity in the director's chair. It's a curious blend of satire, comedy, melodrama, and romance, that, if nothing else, is memorable for its uniqueness. Most of the time, it's easy to compare a new movie to something already available, but not in this case. No one is going to accuse Joe of being derivative, and, with so many movies fitting into easily-defined niches, that's a refreshing characteristic.
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The Lazarus Papers
Wow, where to begin? This movie took me by surprise, I mean look at the cover… Soldiers, helicopters, explosions and Gary Daniels and Danny Trejo; both from the destructive movie “The Expendables” and a gun blasting, explosion topped, non-stop action flick passes your mind… There must have been a miscommunication between the director and the cover artist because the only moment there was any sort of resembling action was at the beginning of the movie I don’t even recall explosions. Read on for the full nonsense…
Forgetting you’ve ever seen the cover, The movie adapts a more twisted path, a physiological trip to test your sanity, I can understand flash backs in movies but when they range from 1 year in the future, 2 days in the past and then a couple of hours in the future and a couple of weeks back in the past you’ll start to lose sense of what’s going on.
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Lilo & Stitch
With the release of Lilo & Stitch, it's official: the "second Golden Age" of Disney animation, which began promisingly with 1989's The Little Mermaid, is over. Of course, some of Disney's recent efforts - Atlantis and The Emperor's New Groove come to mind - have been uneven, but they haven't been as lackluster as this movie. In terms of storytelling, voice characterization, and visual appeal, Lilo & Stitch seems more like a wannabe production than an actual Disney effort. Lilo & Stitch hails back to the Disney films of the late-'70s and early-'80s, when the craft and creativity had been leeched from the process, turning motion picture animation into an assembly-line approach.
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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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Faust: Love of the Damned
An artist, John Jaspers sells his soul to the mysterious M in order to get revenge on the people who killed his girlfriend. Soon, he realizes everything has a price, and he is transformed into a horned demon with a passion for killing. He learns that M plans to release the Homunculus, a giant Lizard-like monster onto the earth, opening the gate to hell. Now, Jaspers must stop M before he can let the apocalypse begin...
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Enemy at the Gates
In 1942, Vassili Zaitsev (Jude Law), a shepherd from the Ural Mountains who is now a soldier in the Red Army, finds himself on the front lines of the Battle of Stalingrad. Sent on a suicidal charge against the invading Germans, he uses impressive marksmanship skills—taught to him by his grandfather from a young age—to save himself and commissar Danilov (Joseph Fiennes). Nikita Khrushchev (Bob Hoskins) arrives in Stalingrad to coordinate the city's defenses and demands ideas to improve morale. Danilov, now a senior Lieutenant, suggests that the people need figures to idolize, and publishes tales of Vassili's exploits in the army's newspaper that paint him as a national hero and propaganda icon. Vassili is transferred to the sniper division, and he and Danilov become friends. They also both become romantically interested in Tania (Rachel Weisz), a citizen of Stalingrad who has become a Private in the local militia. Danilov has her transferred to an intelligence unit away from the battlefield.
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A multinational military force known as the Allied Nations has managed to enter the fictional South East Asian nation of Shadaloo to combat the armed forces of a drug lord turned General named M. Bison, who has recently captured several dozen a workers. Via a live two-way TV broadcast, Bison demands Allied Nations regional commander, Colonel William F. Guile (Jean-Claude Van Damme) secure a $20 billion ransom in three days, or he will kill the hostages and the world will hold Guile and the Allied Nations accountable. Guile's assistant, Cammy (Kylie Minogue), is only able to partially trace Bison's signal, determining that his hideout is somewhere in the river-delta region outside Shadaloo City.
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When her husband dies in the wedding night Judy decides to join the army. What looks like a bad decision at first, turns out not so bad at all. That is, until her superior makes sexual advances. She is transferred to NATO headquarters in Europe and (re)meets the Frenchman Henri. Judy and Henri decide to marry, but will they ?
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The Manipulator aka B.J. Presents
An insane Hollywood makeup man kidnaps a woman, keeps her prisoner in his warehouse full of props.
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