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The Goods: Live Hard, Sell Hard
At one point during “The Goods: Live Hard, Sell Hard,” a grubby-looking comedy about the art of the sale, two alligators crawl across a car lot. Who brought the alligators? a bewildered man asks. We’re the only ones who can hear his question amid the shrieks of the customers and salesmen and the whir of a buzz saw that brings a guy on stilts and in an Uncle Sam costume down to size. From one angle this frenzied moment looks like a metaphor for the American auto industry, but it’s just a throwaway in a comedy without a shred of obvious filmmaking and an endless stream of good, bad, sometimes terrible, often absurd jokes.
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When assessing the small motion picture sub-genre of the "fantasy comedy," it's necessary to acknowledge that the impregnable pinnacle is occupied by Rob Reiner's The Princess Bride, a classic whose prominence may never be challenged. Your Highness, David Gordon Green's entry, is more than a little distance down the slope. The problem with the film, which strives for a tone not unlike that of Piers Anthony's The Magic of Xanth series, is that, although it's a better fantasy than a comedy, it never fully embraces either side of its pedigree and ends up a piebald bastard. Green and his screenwriters (Ben Best and co-star Danny McBride) might have been more successful had they toned down some of the humor (too little of which is funny, anyway) and made Your Highness more of a straightforward homage to medieval quest adventures.
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Running Scared feels like Tony Scott on barbiturates. From tone to approach, it's like a Scott-helmed movie, but the tendency to show off is limited, the camera movements are less frantic, and the editing occasionally allows shots to last for more than a second. The result is a picture that retains coherence to go along with its pile-driver intensity. With a complex plot that unspools with surprising clarity, Running Scared displays a reckless intensity. In retrospect, a lot of what the film offers falls apart, but the filmmakers do their best to use adrenaline to keep us from thinking too much during the experience.
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Away We Go
It may be fair to consider Away We Go as Sam Mendes' penance for Revolutionary Road. The director's late-2008 Winslet/DiCaprio reunion was an immersion in bile - an acidic trip underneath the placid exterior of mid-20th century suburbia to a rot that David Lynch would appreciate. To apologize, or at least argue that his view of the human condition is perhaps not so misanthropic, Mendes has crafted the far gentler Away We Go, a lighthearted road trip movie that celebrates the importance of family while delivering a few laughs and maybe a tear or two. Away We Go is not as dramatically wrenching as Revolutionary Road, but it's unquestionably more enjoyable.
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Bride and Prejudice
At first, the marriage between classical British literature and Bollywood musical would seem doomed to failure. But this particular match, arranged by Gurinder Chadha, finds a surprisingly rich field of common ground. Bride and Prejudice is bright, colorful, and exhilarating, and brings new dimensions to a story that has been told so many times that it's astounding to recognize that someone has found a fresh perspective. I don't know what Jane Austen would have thought of the film, but I enjoyed it.
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Girl Who Kicked the Hornet's Nest
The Girl Who Kicked the Hornet's Nest, the third and final piece of the cinematic adaptation of Stieg Larsson's The Millennium Trilogy, is an entertaining thriller. That said, it's the weakest of the films, falling a length or two behind The Girl Who Played with Fire, and considerably more than that with respect to The Girl with the Dragon Tattoo. Admittedly, some of the problems are out of the filmmakers' control. By trying to remain reasonably faithful to the books, they are hamstrung by the weaknesses of Larssson's material, chief of which is that he died before he could satisfactorily wrap up the most compelling aspect of The Millennium Trilogy: the relationship between Mikael Blomkvist (Michael Nyqvist) and Lisbeth Salander (Noomi Rapace). After being effectively established in The Girl with the Dragon Tattoo, this is shunted to the side in both sequels. The most we get in The Girl Who Kicked the Hornet's Nest is a brief scene that is pregnant with unacknowledged and unresolved romantic tension. It's more than a little frustrating. Fortunately, the movie resolves most of the plot threads left dangling at the end of The Girl Who Played with Fire. Unlike The Girl with the Dragon Tattoo, which can stand on its own, the other two films need to be seen as a set. Neither is complete without the other.
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These tough economic times, with the national unemployment rate inching toward double digits, would seem to offer the perfect opportunity to release a movie about the difficulties faced by a recent college graduate in obtaining not merely the "perfect job," but any job at all. Unfortunately, as such a candidate, Post Grad isn't funny, surprising, or insightful enough to provoke more than a ho-hum reaction. It's not bad in the way that many failed comedies are bad; it's simply uninspired. And, in the end, what starts out as an exploration of a woman finding herself once she's freed from the hermetically sealed safety bubble of the college experience turns into yet another romantic comedy in which the girl drops everything and pursues the boy as he stakes out his future.
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Life Before Her Eyes
The Life Before Her Eyes is an examination of survivor guilt. It uses as its backdrop a Columbine-like school shooting and flashes back and forth between a girl as she is at the time of the incident and the woman she will be fifteen years later. Director Vadim Perelman is careful in the way he assembles the movie to create some uncertainty about whether the "present" represents the scenes with the girl (flashing forward to her future) or the scenes with the woman (flashing back to her past). However, although events occur in two separate time lines, the screenplay eventually connects them in a way that may not be entirely expected.
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There's no sophomore jinx for the Wachowski Brothers. Andy and Larry, a pair of obviously talented film makers, have returned to theaters with The Matrix, a science fiction thriller that is every bit the match of their debut effort, Bound, for tension, excitement, and intelligence. In an era when movie scripts (especially those pigeonholed into the science fiction genre) are becoming increasingly more stupid and special effects reliant, the Wachowskis prove that style and substance do not have to be mutually exclusive.
Just Like Heaven
With Just Like Heaven, director Mark Waters (Mean Girls) wants to have his cake and eat it to. That's not necessarily a bad thing, until you consider that the recipe used for this confection is missing a few ingredients and the final product is half-baked. And, rather than eating it, he kind of chokes on it. Just Like Heaven tries to be an unholy union of Ghost and All of Me, and the result is rarely humorous, rarely romantic, and rarely affecting. Plus, the suspension of disbelief curve is so steep that even Lance Armstrong wouldn't be able to make it to the top.
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Midnight Express is a harrowing tale of a nave American caught in a nightmare of his own making thousands of miles from his home. Billy Hayes (Brad Davis) is an American tourist visiting Turkey with his girlfriend Susan (Irene Miracle) when he's caught by customs officials trying to smuggle a large amount of hashish out of the country. The crime would normally carry a sentence of four years, but officials decide to make an example of Billy, and he draws a 30-year sentence despite the promises of his Turkish legal counsel.
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Based on Anton Chekovs The Three Sisters about siblings living in a college town who struggle with the death of their father and try to reconcile relationships in their own lives.
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Prisoners of the Lost Universe
Through a series of coincidences, Carrie, Dan and Dr. Hartmann all fall through a teleporter device Hartmann has invented. Transported to a what appears to be a prehistoric world in a parallel universe and unable to find the Doctor, Dan and Carrie must figure out a way to get back home. Before they can do that, however, they must deal with tribes of savage cavemen, as well as brutal warlord named Kleel who has taken a liking to Carrie and seems to be unusually well-supplied with Earth technology.
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Charlie Price, a former scientist turned science fiction author, starts living one of his novels when the Federal Science Foundations weather experiments escape control and turn disastrous.
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A group of nerdy college guys who cant seem to connect with girls their own age discover the excitement of hooking up with sexy older women.
Innocent people are being brutally murdered on the streets of New York by a uniformed police officer. As the death toll rises and City Hall attempts a cover-up, Frank McCrae heads the investigation. A young cop, Jack Forrest, finds himself under arrest as the chief suspect, having been the victim of a set-up by the real killer and a mysterious woman phone-caller. Forrest, his girlfriend Theresa, and McCrae set out to solve the puzzle before the Maniac Cop can strike again.
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