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X-Men Origins: Wolverine
Fleshing out a backstory that had only been glimpsed in cryptic flashbacks in X-Men and X2: X-Men United, X-Men Origins: Wolverine explores the days before Logan (Hugh Jackman) joined the X-Men. Chronicling his mid-19th century youth and sibling rivalry with half-brother Victor Creed (Liev Schreiber), Wolverine charts Logan and Victor's years as mercenaries fighting in every American war from the Civil War to Vietnam, where they are given a way out of jail by Col. William Stryker (Danny Huston). And that's just the first 10 minutes.
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Amid the documentaries and dramas and short film programs playing at the 2009 Tribeca Film Festival right now, there are a handful of genre films that seem to have built up a name recognition factor already. The tongue-in-cheek tribute to/spoof of the blaxploitation genre of the '70s, Black Dynamite, is one of those movies. Co-writer Michael Jai White -- the actor who is best known for his turns in Spawn and The Dark Knight -- also stars as the ass-kicking title character in what is essentially a mash-up of Grindhouse and I'm Gonna Git You Sucka with a dash of online viral video flavor thrown in for good measure.
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Mum & Dad
Steven Sheil's new feature, Mum & Dad, wears its many influences proudly and mostly gets away with it; largely because the social milieu in which Sheil sets his torture porn-inflected debut draws on some peculiarly British cultural reference points. After the briefest of set-ups we're planted straight onto the set of the Saw movies, by way of Hostel and The Texas Chainsaw Massacre, with a brief detour into Seven territory. Only, Mum & Dad is populated by a soap cast. Living in a Coronation Street house. Next to Heathrow airport.
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Ghost Town is one of those romantic comedies that never quite clicks. At times, its humor is effective, provoking chuckles and laughs. At other times, the comedy feels forced and awkward. The romantic element is equally hit-and-miss. The chemistry that emerges between the leads during the film's second half is largely absent from the first 45 minutes. And the premise, rich with promise and pregnant with possibilities, is reduced to a plot device that allows Ghost Town to turn into a low-rent, modern-day version of A Christmas Carol.
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Fast Food Nation
The idea underlying Fast Food Nation is intriguing: take the premise of the best-selling non-fiction book by Eric Schlosser and convert it into the backstory of a fictional film. Where director Richard Linklater runs into trouble is in the execution stage. The narrative he has fashioned is not only unfocused and rambling, but presents thinly developed characters that have little life or screen presence. The only interesting elements of Fast Food Nation are when it offers insight into the fast food process from slaughter house to Styrofoam container. This argues that the movie might have worked better had the ensemble cast been dumped and the project re-imagined as a documentary.
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Win a Date with Tad Hamilton
One reasonable way to judge a romantic comedy is to ask how strong a rooting interest the viewer has in the coupling that is destined to occur at the end of the film. In Win a Date with Tad Hamilton!, the desire is lukewarm. The central flaw here isn't the predictability of the plot (that's a given in any film of this genre) or the absence of crisp dialogue, but the lack of conviction with which two of the three lead characters are presented. It's tough to develop a compelling romantic triangle when two-thirds of the participants aren't being effectively "sold."
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Puccini for Beginners
Puccini for Beginners has a lot less to do with opera than it has to do with a sit-com view of life in the Big City. Not that the approach is inherently bad, and director Maria Maggenti has fashioned a reasonably entertaining movie that borrows heavily from Woody Allen, Sex in the City, and Seinfeld. Her view of New York is that of a big neighborhood where there are no crowds, the sidewalks are clean, and people talk to one another. Maggenti, like Allen, has done for New York what so many directors have done for Paris. (And she actually filmed in New York, not in some other city made up to look like it.)
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Opposite of Sex
The turning point in Christina Ricci's career came when she chose to appear in Ang Lee's The Ice Storm. Since then, nothing has been the same for the up-and-coming performer. Before the 1997 feature, Ricci had turned up in host of bland, family-oriented features as an innocent young girl. Although the films were often easy to dismiss, the actress' consistently fine performances were not. Finally, with The Ice Storm, Ricci was given a role of import in a film of substance. Her portrayal of a sexually voracious teenager who sleeps with boys of her age (and younger) is riveting, and it ignited a phase in Ricci's career that has had her playing a drug-addled artist (Fear and Loathing in Las Vegas), an alluring hostage-turned-girlfriend (Buffalo 66), and a promiscuous young woman who uses her sexuality as a weapon (The Opposite of Sex).
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Very few westerns have dealt with the Florida-based Seminole Indians, and the bulk of them appear to have been made in the mid-1950s. Following Distant Drums (1951), the subject was explored to varying degrees in Seminole (1953), War Arrow (1953), Shark River (1953), Seminole Uprising (1955) and Naked in the Sun (1957).
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Star Trek: Nemesis
Is this the end of Star Trek? Has the long-running TV/film franchise finally reached the point where it can no longer seek out new life and new civilizations? After defeating Klingons, Romulans, and Borg, will the ultimate enemy – the multiplex box office – finally bring it down? Only time will answer those questions, but, with the arrival of Star Trek: Nemesis, the tenth Star Trek motion picture, the venerable series is looking outmoded and outdated. Media saturation and age have taken their toll.
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Christmas in Wonderland
Its turning out to be a pretty rotten Christmas for the Saunders family. Having just moved to a new city from Los Angeles, they have no friends, no money and, with the exception of the bright-eyed Mary, no Christmas spirit. To make matters worse, their mother is stuck in L.A., stranded by airline overbookings. So, the Christmas shopping duties fall on Dad and the gloomy kids. Things start looking a bit more like Christmas when 12-year old Brian and 6-year old Mary find a satchel of money at the local mall and they launch a Yuletide shopping spree...that is, until the crooks who counterfeited the money chase them through the mall packed with holiday shoppers.
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In the world of underground motorcycle clubs, the undefeated racer known as Smoke (Laurence Fishburne) is the undisputed "King of Cali." But Smoke's dominance of the set is about to be threatened by a young motorcycle racing prodigy called Kid (Derek Luke), who is determined to win Smoke's helmet and earn the coveted title.
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Daltry Calhoun is a 2005 film, written and directed by Katrina Holden Bronson and starring Johnny Knoxville as the lead character Daltry Calhoun and Sophie Traub as his estranged daughter. Famed director Quentin Tarantino is one of the film's executive producers.
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A group of friends on a weekend camping trip decide to investigate a local urban legend. The trip will change their lives as they are forced into a fight for survival against a horrific monster.
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Desmond Doyle is devastated when his wife abandons their family on the day after Christmas. His unemployment and the fact that there is no woman in the house to care for the children, Evelyn, Dermot and Maurice, make it clear to the authorities that his is an untenable situation. The Catholic Church and the Irish courts decide to put the Doyle children into Church-run orphanages. Although a sympathetic judge assures Desmond that when his financial situation reverses, he will be able to get his children back money is hard to come by. During that time, Evelyn and her brothers suffer the abuses of living in orphanages while Desmond struggles to secure finances. Now he must battle the courts to get his children back.
To a dumpy motel in an out-of-the-way little town, a mysterious woman, calling herself only Ms. Smith, comes to stay. Not only is she stunningly lovely, but her big black convertible is a beaut. J.T., the just-out-of-high-school son of the motels owner, is taken by the car, and in an attempt to liven up his dull life, and possibly to impress Tanya, a hotel guest who flirts with him and wants to be a model, he steals the car, and brings along Tanya and his pal James. What they dont know is that Ms. Smith is a professional killer, and J.T. thinks he can make things work to his advantage when the three of them find a corpse in the trunk of the stolen vehicle...