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Legendary is the first in a line of several, softer, family-oriented movies that WWE Studios is releasing in an attempt to reach out to their TV PG audience and show a different side to their hand-selected superstar thespians. The core of this story – which is about a family splintered apart by survival guilt – works, but the execution is rough and contrived.
John Cena plays depressed former high school wrestling star Mike Chetley, while Devon Graye (teen Dexter from Showtime's Dexter) plays his younger "quirky" brother, Cal, who decides to join the grappling team with hopes of strengthening his spirit and re-uniting his family. Patricia Clarkson, as their quietly-tormented spitfire mom, Sharon, delivers a great, tangible performance that the movie itself almost doesn't deserve.
A group of guinea pigs trained by the government to work in espionage, armed with the latest high-tech spy equipment, soon discover that the fate of the world is in their paws.
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Everything appears to be going well for Samuel and Nadia. He is about to qualify as a nurse, she is expecting their first child. Their world is suddenly turned upside down when Nadia is kidnapped as Samuel looks on helplessly. Samuel’s destiny will be linked with that of Sartet, a notorious crook who is being actively hunted by the police. If he wants to see his wife again, Samuel must act fast...
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The New World
The New World's sociological and emotional heft is encased in a swirl of hallucinatory images. This is a fitting description given that Terrence Malick approaches the story of John Smith and Pocahontas as if it were a specimen of lost time trapped in amber. He turns the fossil in his hands, reflecting the light of the sun through the resinous shell of history and onto his characters from many remarkable, expressive angles, illuminating the tragedy of John Smith and Pocahontas's impossible love through the horrible conquest of the Powhatan tribe's paradise and the sad spectacle of Pocahontas's conversion into an English woman. The purpose of this lyrical experiment is an attempt to regain lost time—to substantiate the lore of John Smith and Pocahontas with profound, adult feeling. It takes back the story Disney hijacked and infantilized in 1995's Pocahontas.
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Hannibal Rising is the funniest movie of the year - a true laugh riot. Viewers will be holding their sides to contain the laughter. Forget Borat - if you're looking for something hilarious, this is the movie to see. What's that? It's not supposed to be a comedy. Oops.
First of all, who had the bright idea of making a Hannibal movie without Anthony Hopkins? That's like making a Pink Panther movie without Peter Sellars. (Yes, they did that and look at the result.) Frankly, after The Silence of the Lambs, the only reason to see the Hannibal movies was because of Hopkins. Secondly, using the critically panned novel by Thomas Harris as the template was another bad move. To his credit, Harris manages to make the screenplay worse than the novel.
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Winter's Bone offers a case study in the essential philosophical differences between independent motion picture thrillers and Hollywood/mainstream ones. The third feature from director Debra Granik and winner of two awards at the 2010 Sundance Film Festival (including the Grand Jury Prize), Winter's Bone is character-oriented. There are no gunfights or shoot-outs. The protagonist is an atypical choice: a 17-year old girl living in the rural South. She possesses no extraordinary abilities besides her intelligence and resilience; if you hit her, she will bleed. The "villains" have readily identifiable motivations that have nothing to do with mass murder or world domination. The pace is usually languid, allowing the viewer to soak up an atmosphere pregnant with danger, but is occasionally punctuated by moments of violence or extreme tension. And, as is often the case with films that veer off a familiar, formula-paved track, it's tough to see the end until it arrives.
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The primary goal of Fahrenheit 9/11 is obvious: offer evidence that President George W. Bush is an incompetent moron and that his administration is corrupt. One might argue that filmmaker Michael Moore does an adequate job of this, except that, to anyone who follows politics, there's nothing new about those charges. Bush has often shown that, as president, he's in over his head. He has never hidden his lack of intelligence. (How else to explain his constant mispronunciation of "nuclear" as "nucular?") And corruption goes along with politics like peppermint canes go with Christmas trees. One expects more from Moore than the mere regurgitation of well-documented material. We want insight, not surface-skimming. The Supreme Court decided the 2000 election? We know that. Bin Laden's family members were flown out of the United States at a time when planes were grounded? That has been reported in magazines and papers, and is general knowledge. There's strong evidence of a financial connection between Bin Laden's family and Bush? We first heard about that shortly after 9/11. Bush's real goal in the so-called "War on Terrorism" was to force a regime change in Iraq? No surprise.
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There's a prescription for making an effective dark comedy: the film must generate equal parts discomfort and laughter. The Ex offers plenty of the former but precious little of the latter. The movie is populated by dislikeable individuals doing unpleasant things but isn't redeemed by the vein of viciously black comedy that made The War of the Roses and Bad Santa such devilish pleasures. For the most part, the humor in The Ex is sit-com in nature - mild, juvenile, filled with pratfalls, and not especially funny.
One wonders what Disney is going to come up with next, and whether they'll be able to continue at the high level of quality attained by their recent batch of films. 1989's The Little Mermaid is nothing short of delightful, and Beauty and the Beast, the studio's 1991 animated entry, is perhaps the finest animated film ever made. Now, with the advent of 1992's Fall holiday season, Disney has unveiled their latest, Aladdin, an extremely loose adaptation of the Arabian Nights fable about the boy who found a genie in a bottle. And, although more openly comical than either Beauty or The Little Mermaid, Aladdin maintains the high standards set by its immediate predecessors.
Bulldog Drummond's Peril
Though John Barrymore is top-billed in Bulldog Drummond's Peril, the aging matinee idol is consigned to the supporting role of Inspector Nielsen. Drummond is portrayed by John Howard; once more, he is on the verge of marrying the ever-patient Phyllis Clavering (Louise Campbell).
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A young Henry Oldfield (Nick Fenton) lives on a sheep farm in New Zealand, with his father and older brother, Angus. After witnessing his father's pride in Henry's natural ability at farming, Angus plays a cruel prank on him involving the bloody corpse of his pet sheep, just moments before Mrs. Mac, the farm's housekeeper, comes to tell the boys that their father has been killed in an accident. The combined shock of these two incidents leads Henry to develop a crippling phobia of sheep.
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A Knight's Tale
Set in late Medieval Europe in the 1370s, the story begins with the protagonists and squires, William (Heath Ledger), Roland (Mark Addy) and Wat (Alan Tudyk), discovering their master, Sir Ector (Nick Brimble), dead of bowel problems in the middle of a jousting tournament. He was ahead "three lances to none" and merely had to finish the final round to win the tournament and be awarded the money that was to buy food for them all. While Wat and Roland resign themselves to destitution now that they no longer have Sir Ector's employment and protection, William Thatcher takes the armour, and more importantly the helmet, from Sir Ector's body and poses as the noble to finish the match. William's inexperience is evident, as he receives a lance blow to the face mask, but regardless wins the tournament (and the money) due to Ector's previous lead. This gives William the idea that, with proper training, he and his companions could make a living in jousting. For a month, William trains with the help of Roland and Wat to improve his balance and aim. After many tries Will is able to joust properly and is therefore ready to compete.
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Disc jockey turned actor Bob Crane develops a secret personal life, focusing on his relationship with John Henry Carpenter, an electronics expert involved with the nascent home video market.
Encouraged by Carpenter and enabled by his expertise, Crane — portrayed as a church-going, clean-cut family man (though he really never was) — becomes a sex addict obsessed with sleeping with as many women as possible and recording those encounters with video and photographic equipment, usually with Carpenter participating. Auto Focus depicts Crane's life from his sitcom success through his post-Hogan's Heroes efforts to sustain a viable career — mostly in dinner theatre — until his murder.
Crane's murder remains unsolved to this day. Although Carpenter was tried and acquitted of the crime, he remains the subject of suspicion even after his death in 1998.
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Chad (Elliot Olson) is snowboarding down a mountain, when suddenly someone dressed in all black on Ski's attacks him. Chad attempts to get away, but is decapitated by a piece of wire strung up between two trees.
Set at the end of the 60s, as Swaziland is about to receive independence from Great Britain, the film follows the young Ralph Compton, at 12, through his parents traumatic separation, till hes 14. It is written and directed by Richard E Grant, and based on true events from Richard E Grants childhood.
A Numbers Game
Neal is a good looking, smooth talking, killer deal closer, who can sell anything to anyone at any time. For Neal, sales is just a numbers game you cant sell to everyone, but you make enough calls in one day and you will make money. For Catherine, sales is nothing but stress and hard work. As the manager of a failing sales team Catherines job is on the line, and her boss has called in Neal to turn things around. Will Neals methods help Catherines sales team, or will his smooth talking get them both into trouble?
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