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The Killer Inside Me
“Around here, if you’re not a man and a gentleman, you’re nothing,” says Lou Ford, the protagonist of “The Killer Inside Me.” A murderous sociopath, cowardly and cold and particularly brutal toward women, Lou is in effect introducing the tale of his own self-annihilation. On the surface a polite, upstanding fellow — a sheriff’s deputy with fine manners and a clean white shirt — Lou guides us on a grisly tour of the abyss that is his soul.
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An outrageous cut-rate producer, Charlie LaRue (Christopher Meloni) is about to fulfill his lifelong dream to make a movie about the most offensive, dirtiest jokes ever told. As Charlie and his filmmaking team hilariously struggle to write a script and assemble their award-winning cast, the movie-within-a-movie emerges with one dirty joke after another. Only one can take the crown for writing the dirtiest joke ever told and Charlie will do whatever he can to be that king. Written by Elizabeth, Marketing Manager
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The cinema of Bernardo Bertolucci has provided the meat of many a heated film debate since his emergence in the 1970’s. Those with a soft spot for European cinema have always maintained that his work, even at it’s most grandiloquent, deserves to be included in the pantheon of post-war classics. Those with sympathies more firmly lodged on the west coast of America have used the dreaded P word (amongst others) to describe the Italian’s output. Wherever your loyalties lie it’s impossible to ignore the buzz his films still command. He is one of only a handful of international directors whose name on the poster is the key selling point for the film, regardless of who’s starring in it, or what it’s about.
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Meet the Fockers
I am not a fan of Meet the Parents, the 2000 film that introduced Ben Stiller to the joys of having an ex-CIA agent as a potential father-in-law. The movie is too much like a sit-com, although, as a counterbalance, it offers several big laughs. Meet the Fockers, the 2004 follow-up, plays much like the original, but with less effective humor. In the nearly two-hour running length, there are maybe five or six solid chuckles, resulting in a movie experience that is more tedious than entertaining. The problem lies in the screenplay (credited to John Hamburg and Jim Herzfeld, who also wrote installment #1), which latches on to the few clever and/or funny elements in the film and runs them into the ground via repetition.
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Starting out in the Evening
Starting out in the Evening is as much a meditation on the craft of writing as it is a May/December romance. It's a gentle, unhurried drama about how people can connect with each other through conversation, nonverbal gestures, and writing. The pace is slow but the characters have enough depth and texture to keep the film from becoming boring. We understand these people and want to know what happens next. If there's a downside, it's that the ending is perfunctory and in some ways unsatisfying. It can be a problem when a director thinks he has provided closure when he hasn't, and that's what occurs here. There's a critical scene late in the movie that's awkward and unanchored and, while it resolves a major plot thread, it leaves a bad aftertaste.
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How, one might ask, does one begin to defend Xanadu? To start with, by looking at it without any pretensions and seeing it for what it is. Conventional wisdom decrees that Xanadu is a horrible film. In a sense, conventional wisdom may be correct, but it ignores one key ingredient: viewed in the right frame of mind, this movie can be a lot of fun. Age has done for Xanadu what it has done for many critically reviled motion pictures that time has not forgotten: allowed us to look at it a little more kindly and appreciate it for its glorious badness. The film is too energetic, too jaw-droppingly campy, and too silly not to be enjoyed and celebrated on some level. "Cheesy" doesn't even begin to describe it, yet that's at the heart of its perverse charm. Now, that's entertainment!
Love comes in many forms -- platonic, romantic, and sexual -- and this is the issue at the heart of Carrington, a cinematic biography of artist Dora Carrington and her near-lover, writer Lytton Strachey. Though Dora, a heterosexual woman who didn't lose her virginity until she was in her twenties, and Strachey, an avowed homosexual, each had an assortment of male bed partners, they were intensely devoted to each other with a passion that was "all absorbing" and "self-abasing". Even without a sexual element, their love was transcendent, majestic, and ultimately tragic, for one could not live without the other.
The film begins with a man trying to escape through the forest from the pursuing knight. Just as the knight catches him and hits him with the sword the man disappears. Soon after that the man is discovered barely alive in the middle of the desert, only able to tell a single word - Castlegard. He dies shortly after being transferred to the hospital. One of the physicians discovers a pendant around his neck with the ITC Corp. label. The X-ray photos show many internal organs, veins and bones are out of alignment for an unknown reason. Soon after that an ITC Corp. employee shows up and identifies the dead man as Vincent Taub. He picks up his body and the company decides to cover up the incident.
At his son's wedding party, Edward Bloom (Albert Finney) tells the same tale he's told many times over the years: on the day Will (Billy Crudup) was born, he was out catching an enormous uncatchable fish, using his wedding ring as bait. Will is annoyed, explaining to his wife Joséphine (Marion Cotillard) that because his father never told the straight truth about anything, he felt unable to trust him. He is troubled to think that he might have a similarly difficult relationship with his future children. Will's relationship with his father becomes so strained that they do not talk for three years. But when his father's health starts to fail, Will and the now pregnant Joséphine return to Alabama. On the plane, Will recalls his father's tale of how he braved a swamp as a child, and met a witch who showed him his death in her glass eye. With this knowledge, Edward knew there were no odds he could not face.
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Day on Fire
The lives of a Palestinian journalist and a Jewish model become inextricably, and shockingly, intertwined after they meet by accident in New York.
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Methodic tells the story of a boy who becomes demonically possessed by an ominous presence known as The Dollman. Forced to obey his dark half, the boy ultimately murders his parents on his birthday and is sentenced to a life under a microscope at the state mental hospital. But evil cannot be contained so easily. Instead, The Dollman simply bides his time, dwelling within the boy- waiting for the day when he will become powerful enough to completely take over his human host. And when that day comes, god help us all.
Bad Girls from Mars
Someone is killing off the female leads of the movie production Bad Girls from Mars. The producers feel they should try to finish the film, even though theyre making a lucrative amount from insurance payoffs, so they fly in European sex bomb Emanuelle as the new lead. Emanuelle immediately begins embarrassing the producers by leading a wild party life around town. Meanwhile the killings continue, and detectives try to stop the fiend responsible.
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A Safe Place
A young woman named Noah lives alone in New York. She is a disturbed flower child, who retreats into her past, yearning for lost innocence. She recalls her childhood, searching for a safe place. As a child she met a magician in Central Park who presented her with magical objects a levitating silver ball, a star ring, and a Noahs ark. She is romantically involved with two totally different men. Fred is practical but dull. Mitch is dynamic and sexy, her ideal fantasy partner. Neither man is able to totally fulfill her needs.
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Lust for Dracula
Mina is a young woman wed to Hollywood pharmaceuticals mogul Jonathan Harker. Mina wants to start a family, but is shackled by her manwoman husband. Mina soon meets Countess Dracula who gets her a shot in the arm. Soon Minas a vampire herself, until her sister, whos intent on stalking and killing Dracula, threatens Minas newfound happiness for the same sex.
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Chris Tucker is a small time con man who instantly becomes famous after a murder, wanted dead or alive, his only hope is a journalist named James Russell (Sheen).
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