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"Teenage Angst" is an interesting movie, but not really a gay one. This seems to be a trend lately. Hopefully one that ends soon.
I mean, sure, cute teenaged boys in uniform at an all-boys school form an exclusive club. One boy is made to stand naked in front of the rest to be able to attend. They skinny dip together. They are often nearly naked with their bodies draped over one another. And, you know, that's delightful and all. There's a sexual tension that is definitely present in the encounters with the boys, and no women around. It could go in an interesting direction.
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The first 'reality blockbuster' is a winner. Cloverfield is a lean, brisk roller-coaster of a monster movie, buoyed by the lack of story gimmicks and absurd characterizations that weigh down most movies of this ilk, no offense to you personally Mr. Broderick. In the aftermath, it will dawn on you that it's actually quite traditional -- every character has an arc -- but it doesn't feel that way. Nor does it feel like 'found footage', but something in between. Watch the prologue carefully, as our narrator/cameraman, whose point of view we'll share, is trying to make a standard going-away party commemoration tape interesting by sniffing out some sex gossip and self-consciously creating his own drama with a girl who wishes he'd get lost. This guy has filmmaking instincts, and when circumstances change and he becomes a 'character' in a disaster movie, he goes with it. He's not just pointing a camera -- he's making Cloverfield: The Movie. Ten years ago, we would have said 'it's not realistic that this guy would keep the camera rolling,' but those days are long gone.
Max, a deaf rebel who has managed to stay under the radar, fights for his life daily as he slaughters these transformed humans with pretty effective grace. “Biosys” are humans who have been altered and engineered by scientists to soldier where designated. One of the biossys strays away from his team after realizing the influence that was inflicted upon him only to question his being and his place in this world. He seeks out Max who he believes contains the blood to antidotize the serum and cure the savage race. Along the way they also team up with 2 others who are lost as they are. Their mission is to all find this force known as the Resistance.
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It's been a quiet eleven years for Sidney Prescott, who has managed to go a full decade without having a masked killer terrorize her and systematically kill her friends. But that's all about to change, as Scream 4 introduces the latest incarnation of the killer nicknamed Ghostface back into Sidney's life and into theaters.
The original Scream was one of those perfect little films, combining a killer (excuse the pun) script from then-newcomer Kevin Williamson, with the proven scary movie talents of Wes Craven. It was funny, it was scary and it contained a well-done murder mystery. The first sequel, Scream 2, while not as strong as the original, was still very enjoyable, though unfortunately, Scream 3 left a lot to be desired. But with so much time since the last installment, has bringing Craven, Williamson and the original cast back managed to revitalize the franchise? Happily, the answer is yes.
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A struggling writer unlocks the full potential of his brain by taking a cutting-edge pharmaceutical, only to find that his newfound abilities have made him a target for some of the most greedy and dangerous men on the planet. Eddie Morra (Bradley Cooper) is an author without a novel. No matter how hard he tries, he just can't summon the inspiration to write a single word.
Along Came Polly
Usually, the problem with romantic comedies is that, although the "romantic" part of the equation works, the "comedy" aspect falls flat. With Along Came Polly, it's the other way around. The film, written and directed by John Hamburg (Safe Men), has plenty of funny moments, but there's no chemistry between stars Ben Stiller and Jennifer Aniston. It's hard to accept that these two characters are, or even could be, in love. So, while the film is pleasant and sporadically entertaining, it can't be considered an unequivocal success.
The motivation behind Along Came Polly was to develop the same kind of charming, sweet, crudely funny mélange that made There's Something About Mary so wildly popular. To this end, Universal Pictures recruited the male lead of Mary, Ben Stiller, and paired him with the popular and talented Jennifer Aniston. However, although both of these actors are capable of building likable characters and generating laughs from the comedic material, they never connect. Thus, the ultimate payoff of any romantic movie - the unavoidable "happily ever after" moment - turns out to be flat.
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Valiant is for the birds. Arguably the blandest of the burgeoning crop of big budget digitally animated films, Valiant aims to prove that the death of traditional animation has simply pushed lackluster screenplays into the digital realm. Until recently, digital animation had been heads-and-shoulders about its longer-lived counterpart because each film was lovingly crafted with an attention to detail. Over the past year, however, digitally animated films have begun to show an assembly line quality, and Valiant represents a new low. It's not as clever as it thinks it is, not as funny or exciting as it should be, and not as engaging as it needs to be to prevent kids from losing interest and parents from falling asleep.
Cairo Time is about yearning and longing. It's about the bond of intimacy that can be generated by a look and expanded upon by a smile. It's about an impossible love that is never spoken of or openly acknowledged. Aside from a fleeting, stolen kiss, there is little physical interaction. This is about two people who respect each other too much to make the other take the risk. The Hollywood ideal is that love conquers all. Cairo Time shows something more real and, if the ending is bittersweet (as we know it must be from the beginning), it is something most viewers will understand.
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I suppose Blue Crush can be viewed as a "guilty pleasure", with an emphasis on the first word of that phrase over the second one. The movie, the latest directorial effort from John Stockwell (Crazy/Beautiful), is redeemed to one degree or another by some innovative camera work during the surfing sequences. However, Blue Crush's attempts at character building resort to clichés and formulas that occasionally lead the movie down annoying paths. The film would have been more enjoyable had the balance shifted in favor of water-bound action over the land-based "drama", but the emphasis on the latter leaves Blue Crush waterlogged.
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A film like Up makes it clear that Pixar has moved beyond the point where it feels the need to pander to children. Unlike its main animation competitor, Dreamworks, Pixar allows sophisticated themes and ideas to seep into its movies. Everything does not have to be simplified so that a seven-year old can understand what's going on. That's not to say that Pixar films should be seen as family unfriendly art films. Up, for example, includes plenty of jokes that kids will get and several unremarkable action scenes have been included with younger viewers in mind, but there's material of real substance - something increasingly lacking in animated films not tagged with the "Disney" label. Up is not as transcendent as last year's WALL-E, and doesn't rank near the top of Pixar's pantheon of great features, but it's a solid (and in some ways innovative) fantasy adventure that mixes comedy, action, and drama into a satisfying whole that is likely to please all but the most cantankerous curmudgeons.
The 1999 remake of the horror classic The Mummy surprised Universal Pictures with its box office success. The studio had expected it to be profitable, but not that profitable. However, long before the worldwide gross crept close to $400 million, Universal had already put two additional Mummy films into the hopper, awarding the series the "franchise" label. The Mummy Returns, which re-unites nearly the entire cast from the 1999 movie, is the first of these two productions. The other, a prequel called The Scorpion King, will be released either later this year or next year, depending on how Universal arranges its release schedule.
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A romantic ghost story about two American girls and their British father (Firth) who move to Italy after their mother dies.
Following the death of his wife in a car accident, a college professor (Colin Firth) decides to teach English Literature at an Italian University in Genova. He is accompanied by his two daughters, aged 16 and 10. The trio occupy a flat in the crowded Genova streets and soon adapt to the local way of life, taking day trips to the beach and hiring an Italian tutor in musical composition.
The Morning After
Alex Sternberg wakes up with a hangover and no memory of how she ended up in bed with a dead man. She flees, convinced that she has had another blackout and stabbed someone. Her only support, Turner, an ex cop and recovering alcoholic who is unsympathetic to her plight. She could believe that it is as simple as a violent act committed while drunk, except that the body keeps re-appearing.
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Conan the Barbarian
Conan was still a child when he saw his parents murdered and his village burned by a horde of savages, lead by the semi-god Thulsa Doom. They took him to the north, where he grew up working like an animal, and was later sold as a slave. His master trained him to be a warrior, and made a fortune by using him in fights. But there comes one day, when he gives Conan his freedom, and the chance to take his revenge after so many years.
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Dr. Pretorius and his colleagues are working on a sensational experiment by means of stimulation of the pineal gland, they want to open the human mind to higher dimensions. When the experiment succeeds, however, they are immediately attacked by terrible life forms, which apparently are floating around us all the time. When Dr. Pretorius is killed by one of them, Dr. Tillinghast is under suspect and thrown into the psycho ward due to his stories. Only the ambitious psychologist Dr. McMichaels believes him and wants to continue the experiment.
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