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If there's a sub-genre of horror in desperate need of either rapid retirement or significant reinvention, it's the "honeymooners in trouble" genre. I'm certain that at some point in cinematic history, the concept of putting two newlyweds into distress seemed like a clever way to write about the arc of a typical marriage compressed into a single experience. That said, after countless films, it's safe to say that we get the metaphor, so please, filmmakers, for the love of God, stop forcing us to watch the same pattern of a couple in love, embarking on an adventure, making a stupid decision, fighting, forgiving, coming closer together, making more stupid decisions, resigning themselves to death and then, finally, dying. It's a long way to go for too few thrills and only surface-level character development.
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Like many recent thrillers, Vantage Point is set against the war on terror, as U.S. President Ashton (William Hurt) arrives in Salamanca, Spain to announce new international treaties and efforts in the fight against freedom's enemies. We open in a news van, as harried, hard-bitten producer Rex Brooks (Sigourney Weaver) is orchestrating her camera team and reporters on scene. When reporter Angie Brooks (Zoe Saldana) breaks from the celebratory mood to talk about the protesters outside the courtyard where the crowd awaits the President's words, Rex is miffed about the departure from the script. "We're here for the summit, not the sideshow." Rex has a very definite plan for the day in her head. As shots ring out, the President goes down and explosions ripple through the courtyard, it's clear someone else does, too. ...
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Woody Allen fans were thrilled when his 2005 feature, Match Point, signaled a return to form for the respected director. That, as much as anything, fueled anticipation for Scoop. There were reasons for optimism. The film, like its predecessor, is set in England. Also, like Match Point, the star is Scarlett Johansson. Alas, Scoop proves to be a disappointment - a return to the uninspired pre-Match Point era that nearly choked Allen's career. A blend of lackluster comedy and lazy plotting, the film feels a lot like bad Hitchcock.
Calling Bug a "horror" film may be misleading. Although the movie includes some of the trappings genre fans would expect - including a moment of gore that will cause some viewers to turn away from the screen - it's more of a psychological drama. It's also very strange, although I suppose that's only to be expected considering that the film is adapted from a play about two characters who spend most of their time inside a motel room feeding off each other's paranoid delusions (not the most delectable entrée). Bug is creepy and hard to dismiss, but it's not a lot of fun and its weaknesses leave a bitter aftertaste.
It can be convincingly argued that John Waters' oeuvre is an acquired taste. If that's the case, I haven't yet acquired it. I view Waters as a pre-adolescent male in a state of arrested development. He is obsessed with what kids snickeringly refer to as "potty humor," and his movies reek of it. Rather than being incisive or challenging, they're merely vulgar and offensive. (And it takes a lot to offend me…) There's nothing in Waters' latest, A Dirty Shame, to rival his most infamous cinematic moment (Divine eating a turd in Pink Flamingos), but there's some pretty gross stuff. The title is apropos.
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The Golden Door might have worked better as a documentary. The subject matter - that of third-class immigrants making their way to the New World at the beginning of the 20th century - is fascinating material, and director Emanuele Crialese includes many little details that are left out of the history books. Unfortunately, the characters he uses to populate the movie are flat. Crialese seems more interested in bringing home a sense of the overall experience than in developing characters and relationships. As a result, there are times when attempts to focus on one or more of the seven primary individuals grinds The Golden Door to a halt.
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There are movies that amble because the slow pace is necessary to provide insight into the characters and allow an overriding sense of atmosphere to envelop the viewer. Then there are movies whose slowness threatens to turn into stagnation and help the viewer into the arms of Morpheus. The appropriately named Sleepwalking falls into the latter category. With its generic lifeless setting (how many times have we seen this town before?) and low wattage narrative, the movie is a bit of a chore to sit through, and the predictable Pollyanna ending doesn't make things more palatable. Sleepwalking provides character arcs for its two protagonists but neither is as interesting or memorable as the performances warrant.
"Belle Epoque is the story of Paradise: too good to last. It's about the discovery of life, but the real one, I mean: freedom, art, love, sex, friendship...all the things that make life interesting. It's an oasis... Maybe it's too idealistic, but I always thought one of the reasons for cinema was to give pleasure and happiness to the audience. I don't want to make people think about how miserable life is. I prefer to leave that for tomorrow. I like to hear the audience laughing in a dark theater. That's the best music for me."
- Fernando Trueba, director/producer of Belle Epoque
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Journey of August King
The Journey of August King is as close to a flawless motion picture as is likely to be produced by the film industry (independent or mainstream). Featuring strong acting, realistic set and costume design, an intelligent script, solid directing, and evocative cinematography, every facet of this movie is impressive. It is a thoughtful, emotionally-rich production that explores its title in both a literal and a metaphysical sense. In the process, the audience experiences both of August King's journeys: the one he takes through the mountains of western North Carolina and the one his soul makes from loss to salvation.
While most films require one to three years to produce, for The Journey of August King, the process lasted twenty-five years. The novel was published in 1971, and Universal Pictures immediately optioned the screen rights. Now, over two decades and three screenplays later, the movie has finally made it to theaters. Following a short film festival run (which included the coveted closing position at Venice), the picture is scheduled for a late-1995 release in New York and Los Angeles, with wider distribution in early 1996.
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Made for television, Moving Target bears a few faint echoes of the 1986 theatrical feature Out of Bounds. Jason Bateman plays a teenaged musician returning home from summer camp. He is hardly greeted with open arms; as a matter of fact, his family has moved out in his absence. Compounding this traumatic turn of events, Jason becomes the quarry of a syndicate hit man (Jack Wagner)--and of the US Justice Department.
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Grow Your Own
Political refugees are given allotments as part of a scheme to help them fit into the local community. Reaction is mixed amongst the allotment holders of Blacktree Road, ruled with a rod of iron by committee chairman and ex-cop Big John, who bullies his son, known as Little John. Mobile phone company employees Carla, a go-getting bitch, and her dim young assistant
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Lewis Black: Black on Broadway
Lewis Black goes on tirade after tirade about stupidity in America. He covers everything from corporate greed and Martha Stewart to WMDs and homeland security
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While She Was Out
On Christmas Eve, suburban housewife Della Myers (Kim Basinger) gets into an argument with her husband Kenneth (Craig Sheffer). After putting her two children to bed, she drives to the mall to buy some wrapping paper. At the mall, she can't find a parking space and angrily leaves a note on the window of a car that is parked using up two parking spaces. By the time she finishes her purchase, the parking lot is nearly deserted, and the note is gone from the car. As she enters her own car, the car on which she had left the note pulls up behind her.
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Universal Soldier: The Return
Luc Devereux is now a technical expert who is working with the government with his partner Maggie, whos been through countless hours of training and combat with him, to refine and perfect the UniSol program in an effort to make a new, stronger breed of soldier that is more sophisticated, intelligent, and agile. All of the new Unisols, which are faster and stronger than their predecessors, are connected through an artificially intelligent computer system called SETH, a Self-Evolving Thought Helix. When SETH discovers that the Universal Soldier program is scheduled to be shut down because of budget cuts, he takes matters into his own hands to protect himself. Killing those who try to shut off his power, and unleashing his platoon of super-soldiers, led by the musclebound Romeo, SETH spares Deveraux, only because Deveraux has the secret code that is needed to deactivate a built-in program that will shut SETH down in a matter of hours. With the help of a hacker named Squid, SETH takes human form. Not only must Luc contend with ambitious reporter Erin, who wont leave his side, but Luc also must contend with General Radford, who wants to take extreme measures to stop SETH. SETH has also kidnapped Lucs injured 13-year-old daughter Hillary, and is now holding her hostage. Luc is the only person who can rescue Hillary, because Luc knows firsthand how a UniSol thinks, feels, and fights.
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My Boyfriend's Back
Missy McCloud is the most beautiful girl in school and Johnny Dingle has been in love with her for years. One night, Johnny is killed trying to win her over, and soon he comes back from the dead, and wins Missys heart.
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The films best character is the Cowboy, a sociopath who spends the majority of his time hitting on women in bars by telling horrible stories about slaughterhouses that somehow actually work. Cowboy is pretty hilarious, despite his, uh, amorous exploits with the mentally disabled, which he uses as another pickup line. And it works. Watching him pick up chicks is so awkward, especially since the viewer knows itll end terribly for the women...