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A horror flick that takes place in Afghanistan in November of 2001? Intriguing, to be sure, but I'll admit to being more than a little skeptical as I walked in to check out Daniel Myrick's The Objective. I was half-expecting some sort of run-of-the-mill occult thriller that got mixed with modern warfare ... just because it's a topical thing to do. Happily, those assumptions turned out to be completely wrong. Since it works much better as a bleak adventure flick and a very sweaty psychological thriller, it'd probably be inaccurate to label The Objective as an out-and-out horror flick -- but I enjoyed it anyway, which means that most of the other genre fans probably will too. Heck, how often do you get to check out a movie described as a wartime horror thriller sci-fi adventure drama?
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What a waste of a talented cast! There are times when it can be depressing to see so much acting potential wasted on a script unable to elicit the best from its stars, and this is one such occasion. Although The Greatest can boast a few excellent isolated scenes, the movie as a whole is a melodramatic mess - a mawkish and unconvincing tear-jerker that wants to say something profound about the impact of an unexpected death on a family, but falls so far short that comparisons to the likes of In the Bedroom and Ordinary People feel almost sacrilegious.
Mesrine: Killer Instinct
If there's one thing to be disliked about Mesrine: Killer Instinct, it's the inauspicious ending. Part One of a two-part saga (with the conclusion in Mesrine: Public Enemy Number One), the movie feels incomplete, which is unsurprising considering that it was scripted and filmed as a single entity and only broken up for logistical reasons: it's hard to get people to sit in a theater for more than four hours, even if the subject is compelling. Nevertheless, it's understandable if a viewer of Mesrine: Killer Instinct reacts with a degree of frustration when the end credits arrive - because it's less of an ending than it is a pause and, depending upon the circumstances in which it is viewed, Part Two may not yet be available.
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Letter from Iwo Jima
Letters from Iwo Jima is a unique American-made war movie for at least two reasons: it depicts the battle from the perspective of the losers and it represents the United States as the "enemy." Coupled with Flags of Our Fathers, Letters from Iwo Jima provides director Clint Eastwood's complete statement about the 1945 Battle of Iwo Jima. Although Flags of Our Fathers deals as much with how a photograph from the battle was used as propaganda on the home front as it does with the actual combat, Letters from Iwo Jima remains entrenched upon the island from start to finish (except for a few character-building flashbacks). In terms of its structure, this is more what we expect from a war movie than what Flags of Our Fathers offers. The only character common to both films is the island's rough terrain.
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I Now Pronounce You Chuck and Larry
It would be interesting to know what contribution (if any) credited screenwriter Alexander Payne (Election, Sideways) made to the final draft of I Now Pronounce You Chuck and Larry. Except for the cloying, strident preachiness of the third act, this seems to be a standard issue Adam Sandler outing, with occasional bouts of laughter becoming bogged down by sophomoric jokes that aren't as funny as the production team expected them to be. Perhaps concerned that the overload of gay jokes might offend some audience members, I Now Pronounce You Chuck and Larry turns into a full defense of gay rights and an applause of gay culture, including appearances by Lance Bass and Richard Chamberlain. It's a shock to the system when this example of puerile comedy turns into a pulpit-pounding sermon. The film's sledgehammer approach makes it more immature than earnest.
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Welcome to Massachusetts, 1666, where Puritans, Indians, and adultery come together in Roland Joffe's overlong, overwrought re-interpretation of Nathaniel Hawthorne's classic, The Scarlet Letter. Literary purists will be aghast at some of the liberties taken with the original text, but my complaints have more to do with cinematic misjudgments than with those in the book-to-screen translation. And, believe me, there are plenty of problems with this production without having to resort to a cry of "it's not faithful to the book!"
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1993′s “Sniper”, about American military snipers working in the brushes of Panama, was a minor hit. Ten years later we get “Sniper 2″, which brings Tom Berenger back to reprise his role of Beckett, an aging Marine sniper who must team up with a younger sniper to take out a military leader on the wrong side of American interests. The two movies, if you were wondering, have essentially the same premise.
This time around Beckett is brought out of retirement with the promise of “anything he wants”, and teamed up with Cole (Bokeem Woodbine), an Army sniper who was sitting on Death Row before he was plucked out to go on the mission with promises of a pardon. (In the original, the youngster was Billy Zane of “Titanic” fame.) The target this time around is a Serbian military leader in an unnamed Balkan city (or if it was named, I missed it), who has gotten on the bad side of the CIA. Since Hollywood is incapable of showing the CIA in any light other than dark and sinister (see “The Bourne Identity”), the CIA sends one of their agents to recruit Beckett to kill this latest nuisance.
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Home of Phobia (aka "Freshman Orientation")
A typical Midwestern 18 year-old freshman at a large state university eager to delve into the college party life, instead discovers that school is not the beer-driven, sexual fantasy of his imagination. Determined to do anything to obtain the girl of his dreams (a gorgeous but reluctant sorority girl), he decides to adopt a gay identity in order to insinuate himself in her life. This casual charade, however, quickly lands him in a morass of campus activism, gender warfare, fraternity hazes, sorority torture, coming out narratives, political martyrdom, and ultimately, a university-wide meltdown.
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See How They Run
Two couple of friends, one very rich the other almost homeless, decides to go on Holiday. Julie, a single mother, joins them too. Once at seaside, it starts a complicate love cross among them that will involve also a transsexual, a jealous brother,a Latin Lover and another nervous stressed couple. Not to mention about the daughter of one of them that is secretly in Chicago with one of his fathers employee... More, at the end of the summer all of them will join the same party...
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Alex Rose and Nancy Kendricks are a young, professional, New York couple in search of their dream home. When they finally find the perfect Brooklyn brownstone they are giddy with anticipation. The duplex is a dream come true, complete with multiple fireplaces, except for one thing: Mrs. Connelly, the old lady who lives on the rent-controlled top floor. Assuming she is elderly and ill, they take the apartment.
¡Tintorera! aka Tintorera: Killer Shark
Two shark hunters flirt with an attractive British lady while hunting down a large tiger shark terrorizing the Mexican East coast.
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A beautiful, wealthy young party girl drops out of Radcliffe in 1965 and heads to New York to become Holly Golightly. When she meets a hungry young artist named Andy Warhol, he promises to make her the star she always wanted to be. And like a super nova she explodes on the New York scene only to find herself slowly lose grip on reality...
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Four months before Christmas, Sarah and Matthieu Scarangelo were in a car crash, of which Sarah and her unborn baby were the only survivors. On Christmas Eve, Sarah stays home alone, where she grieves her husband and prepares to go to the hospital the next morning for the delivery. As night falls, a woman knocks on Sarahs door asking to use the phone. When she refuses, the woman reveals that she knows Sarah and tries to force her way in. Sarah calls the police they inspect the home and determine the woman has left, but promise to keep watch over Sarah through the night. The woman returns and tries to take Sarahs unborn child, but Sarah locks herself in the bathroom. The strange woman torments Sarah through the night and kills all who try help her.
Successful writer and scholar Jonathan Merrick falls under the spell of the irresistible, bewitchingly beautiful Ligeia. Shes fighting a fatal illness and she will stop at nothing to defeat death, her one true enemy. She steals other peoples souls and on her quest to immortality she tricks Jonathan into supporting her work, breaking him apart from his fianc Rowena and pulling him into her dark, mysterious world. They settle down in an old manor by the Black Sea where Ligeias everlasting presence slowly drives Jonathan to madness...
Now & Later
Sex, politics and American culture are mixed into a combustible combination in Now Later. Angela (Shari Solanis) is an illegal Latina immigrant living in Los Angeles who stumbles across Bill (James Wortham), a disgraced banker on the run. She takes him in. Through passionate sex, soul-searching conversations ranging from politics to philosophy, and other worldly pleasures, Angela introduces Bill to another worldview. As their affair heats up, the course of Bills life begins to take an abrupt and unexpected turn.The film was conceived by the director in reaction to Americans penchant for violence in our culture and our puritanical censoring of anything involving sex. Familiar with philosopher Wilhelm Reichs notion that a sexually repressed society turns into a violent one, Diaz makes an unabashedly sexual yet cerebral film that challenges the perception that sex in media is harmful.
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