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The Last Song
It's gotten to the point where if you've seen one film based on a Nicholas Sparks book, you've seen them all. And that applies more so than ever to The Last Song, a limp effort cobbled together from bits and pieces of Sparks' previous stories. No need to write out a detailed synopsis of this movie because if you're familiar with any of Sparks' books, or their film adaptations, you've seen the story of The Last Song done before, and done much better.
In fact, this is basically Dear John with a volleyball-playing college-bound rich kid (Liam Hemsworth) in place of a guitar-playing college bound rich kid (Amanda Seyfried), and a rebellious musical prodigy estranged from her dad (Miley Cyrus) in place of a rebellious teen-turned-soldier estranged from his dad (Channing Tatum). Both The Last Song and Dear John, which just came out on February 5th and is still fresh in moviegoers' minds, have beach scenes with water dripping off some beautiful bodies. And in addition to the aforementioned similarities, both films involve a character with a deadly disease. But, at least Dear John did a decent job of setting up the 'meet cute', whereas The Last Song makes the initial meeting between the two would-be young lovers completely unbelievable and silly.
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Wes Keller is a young man living in a world where oil has collapsed, the food supply has been wiped out, and cancer rates for women have skyrocketed, depleting the female population.
When Did You Last See Your Father?
At first glance, When Did You Last See Your Father? might seem like another movies about sons and fathers. In a sense, it is, but it goes a little deeper. When Did You Last See Your Father? is about sons and how they see their fathers. I once read that, in the bloom of youth, children regard their parents as knowing all. As teenagers, they believe their parents know nothing. As adults, they think their parents might have known a few things after all. And, with the onset of old age, they wish their parents were still around so they could learn from them. This is the cycle this film presents.
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Making an enjoyable family Christmas comedy must be one of the most difficult things to accomplish in Hollywood, because the late-year presence of a good one in multiplexes is more rare than a White Christmas in New York City. Fred Claus, which fits loosely under the umbrella occupied by the forgettable Santa Clause trilogy, is the latest such failed endeavor. The movie is passable in a made-for-TV fashion, but the problem is that it isn't made-for-TV. This sort of thing tries to please adults and children, but the mismatched marriage of flimsy fancy and twelve step program parody fails to click with viewers of any age. The film's multitude of flaws might be more easily forgiven if the movie didn't overstay its welcome by at least a half-hour.
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Just when it was starting to look like the concept of a "funny comedy" has gone out of vogue, along comes Pineapple Express and its cinematic cousin, Tropic Thunder. The latter film, which has emerged from the warped mind of Ben Stiller, is a little nastier than the former, but no less hilarious. With a cast that many movies would die for, Tropic Thunder takes no prisoners. It treks into taboo areas and emerges mostly unscathed. The film isn't perfect - it's a little too long and some scenes aren't as funny as the filmmakers think they are - but in an environment where things like The Love Guru and Step Brothers pass for worthwhile entertainment, Tropic Thunder puts a lot of comedy pretenders to shame.
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In the Magic Kingdom, they must be getting nervous. For years, Disney has had a death grip on the animated market, but, as we enter the latter years of the 1990s, the corporation that gave us Bambi and Snow White is finding their dominance challenged. Fox's Anastasia was actually better than last year's Disney animated film, Hercules. And now, as the Mousketeers prepare the bring the computer-generated feature A Bug's Life to the screen, Dreamworks has engineered a preemptive strike by launching its own computer-animated insect epic, Antz, two months earlier.
Like everything else, James Bond (Pierce Brosnan) has had to change for the nineties. The venerable 007, coming off a long hiatus, has taken on his sixth face (the other five being Sean Connery, David Niven, George Lazenby, Roger Moore, and Timothy Dalton), changed his mode of transport from an Aston- Martin to a BMW, and now answers to a female "M" (played dryly by Judi Dench). Bond's attitudes towards women have been modified -- although not greatly. Also, there's more action in Goldeneye than in previous 007 entries -- enough to keep a ninety-minute film moving at a frantic pace. Unfortunately, this movie isn't ninety-minutes long -- it's one-hundred thirty, which means that fully one-quarter of Goldeneye is momentum-killing padding.
Blueberry aka Renegade
In the 1870s, U.S Marshal Mike S. Blueberry tries to stop Wally Blount, the man who killed his girlfriend, from getting to a stockpile of gold hidden in Indian territory. On his way, he meets Prosit, a German villain on a persistent mission to find gold in the Superstition Mountains.
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The movie centers around the lives of Brad and Abby Cairn (Rockwell and Farmiga), two affluent Manhattanites with two children. Their firstborn, the nine-year-old Joshua (Kogan) is a child prodigy to such a degree that he thinks and acts decades ahead of his age. He is nearly always clad in conservative business attire and demonstrating limitless brilliance as a pianist with a marked predilection for "dissonant" classical pieces. Joshua gravitates toward his gay esthete uncle Ned (Dallas Roberts) as a close friend, but distances himself from his immediate kin, particularly when Abby brings a newborn baby sister home from the hospital.
Still guilt-ridden over the accident that took his familys lives, Eric Norris discovers that his body is host to a parasite from another world. Except, it is more than a parasite it carries his DNA. Is this his new son or as the government believes a threat to mankind?
Micheal, a former test subject of a project to create supersoldiers, is forced to escape with his comrades after the project was cancelled. Months later, he is trying to have a quiet life as a librarian with a tough cop as his best friend. However, a string of vicious gangland murders begins that has all the markings of his former compatriots who seem to have turned to violent crime. Realizing that the police are helpless to fight these soldiers, Micheal decides to take them on himself. Donning a mask to protect his identity, Micheal must fight these powerful villians as the mysterious superhero known only as Black Mask.
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A Simple Wish
Murray is a male fairy godmother, and he is trying to help 8-year-old Anabel to fulfil her simple wish - that her father Oliver, who is a cab driver, would win the leading role in a Broadway musical. Unfortunately, Murrays magic wand is broken and the fairies convention is threatened by evil witches Claudia and Boots.
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From Pentimento, the memoirs of late playwright Lillian Hellman, JULIA covers those years in the 1930s when Lillian attained fame with the production of her first play The Childrens Hour on Broadway. Not surprisingly, it centers on Lillians relationship with her lifelong friend, Julia. It is a relationship that goes beyond mere acquaintance and one for which the word love seems appropriate. While Julia attends the University in Vienna, studying with such luminaries as Sigmund Freud and Albert Einstein, Lillian suffers through revisions of her play with her mentor and sometimes lover Dashiel Hammett at a New England beachhouse. After becoming a celebrated playwright, Lillian is invited to a writers conference in Russia. Julia, having taken up the battle against fascism, enlists Lillian en route to smuggle money through Nazi Germany which will assist in the Anti-Fascist cause. It is a dangerous mission especially for a Jewish intellectual on her way to communist Russia. During a brief meeting with Julia on this trip, Lillian learns that Julia has had a child which is called Lilly. Shortly after returning to the States, Lillian is informed of Julias murder. The details of her death are shrouded in secrecy. Lillian sadly travels to England to search for her namesake the child she had promised Julia to care for.
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Prot is a patient at a mental hospital who claims to be from a far away planet. His psychiatrist tries to help him, only to begin to doubt his own explanations.
Man on Fire
In Mexico City, the former CIA assassin and presently an alcoholic decadent man John Creasy is hired by the industrialist Samuel Ramos, with the recommendation of his old friend Rayburn, to be the bodyguard of his young daughter Pita and his wife Lisa. Pita changes the behavior of the cold Creasy, making him live and smile again, and he feels a great affection for her. When the girl is kidnapped Creasy swears to kill each one responsible for the abduction.
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My Life as McDull
Surprise winner of the FIPRESCI prize at the 26th Hong Kong International Film Festival (2002). Based on characters from a successful series of comic books by co-creators Alice Mak and Brian Tse, the film is told in voice-over by the mature McDull, a piglet in a world populated by both cute animals and humans. The narrative is constructed from several intertitled set pieces involving McDulls birth, education, and training as would-be Olympian, with excursions to his mothers TV cooking show, the Maldives, and other bits of whimsy. Musical accompaniment is provided by a series of adorably jovial nonsense songs set to ruminatively elegiac classical piano pieces by Schubert and Schumann. The photo-realistically animated cityscapes, saturated with remarkable detail, are dazzling. Whats beautiful in the film, is the depth of creativity the filmmakers joyfully deploy in the play of different kinds of images. As the adult McDulls perspective begins to dominate the narrative, the animation gives way to live action. McDull isnt a piglet at all, but a normal, if somewhat intellectually limited, little boy, whose typically ambitious mother pushes him into fabricating a dream world as compensation for her relentless pressure for success. He uses this world to exercise his own creativity in comfort, but ends up disgruntled by what he terms, in a striking closing monologue, this sordid world, this is not so dreamy, not so funny a world. Thankfully, the film doesnt leave him alone facing disillusionment. Moving from fantasy to reality, from a childhood saturated with freely self-deceiving invention to sober self-recognition, McDulls life is, by extension, Hong Kongs. The film, however, proposes that the task of maturity is to start anew, and to use disappointment as a springboard to a fresh beginning. (Excerpts from the review by Shelly Kraicer). The movie is in Chinese, with optional English or Chinese subtitles.
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