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Wall Street: Money Never Sleeps
Wall Street: Money Never Sleeps, the sequel to the 1987 classic Wall Street, opens just weeks after the 9/11 attacks when disgraced former business icon Gordon Gekko (once again played by Oscar winner Michael Douglas) is released from prison after an eight-year stretch. He is alone, a relic of a bygone era with only an outdated mobile phone, a book manuscript he's written and whatever else he had on him when incarcerated to start his life over with. He is at rock bottom, but if there's one thing Gekko is it's a beast with keen survival instincts.
Flash forward to autumn 2008 when the worldwide financial markets are in free fall, stimulus packages and federal bailouts of Wall Street firms are all the rage, and America's elected its first black President. It's in this tumultuous environment that we meet idealistic young trader Jacob Moore (Shia LaBeouf) as his firm teeters on the brink of ruin and so does his shattered mentor and father figure, Louis Zabel (Frank Langella). When a rival of Zabel's, hot shot Bretton James (Josh Brolin), buys out Zabel's once-prestigious firm for a fraction of its worth, a tragedy ensues that motivates Jacob to seek revenge against Bretton.
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This isn't horror. This isn't suspense. Frozen is terror and writer/director Adam Green has taken what initially seems like a 15-minute premise and turned it into a solid 93-minute feature that is oftentimes hard to watch even though almost all of the disturbing content happens off screen.
Instead of blood-soaked visuals Green turns up the sound as if to say, "No, I won't show it to you, but you're going to have to listen." It's gut-wrenching, and as you watch the actors' concerned faces Green makes you listen for a couple beats longer than anticipated to the point you've almost gotten used to it. It's at this point you almost want the camera to pan toward the carnage. You want the feeling you felt to be paid off in some way, whether you get that pay-off or not is for you to find out as I suggest any fan of such genre fare seek this film out.
Aliens in the Attic
The people who made Aliens in the Attic probably will not be surprised to hear that their film is mediocre, given that they don't seem to have been shooting for anything better than that anyway. I picture the walls of the production office lined with motivational posters that say "Good Enough!" and "Why Waste Effort?" And when they're all done, and the C+ grades come out, everyone shouts "Woo-hoo!" and trades high-fives.
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When I decided to go and see The Orphanage I was unsure of what to expect. Considering the title and the setting, I was expecting a redux of the French film House of Voices. There are distinct similarities between the two, mainly in their similar setting and the central character experiencing strange goings on within the creepy confines.
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There's the germ of an intriguing idea in this stylish British crime thriller, but writer-director Love (The Business) never quite follows through on his themes. It looks great, and touches on some important issues, but doesn't seem sure what to do with them.
Rutger Hauer stars as Germanic Emperor Frederick Barbarossa in this bloodthirsty tale of a deadly medieval siege. Set in Northern Italy, Barbarossa plans to capture the regions of South and Centre and recreate the empire, which many years ago belonged to Charlemagne. As deadly clashes break out between the people of the land, fighting for independence and social status, Barbarossa struggles to keep control. Barbarossa’s problems are further exacerbated when a young man from Milan, along with his army of 900 men known as the “Company of Death”, challenge the Emperors reign.
Jane Eyre is like Hamlet: a version arrives every few years without regard to whether a new adaptation is wanted or needed. It's not only a classic, but a staple as well, and many serious directors are itching to put their imprint upon it. The 2011 edition, a workmanlike effort in which the good choices outnumber the mistakes, is neither the best Jane Eyre nor the worst. It's somewhere in the middle of the pack, alongside its immediate cinematic predecessor, Zeffirelli's 1996 production. A better barometer for the necessity of Cary Fukunaga's film, however, might be its less-than-literate box office competition. Applying that consideration, maybe we do need this Jane Eyre after all.
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Eternal Sunshine of the Spotless Mind
A unique romantic comedy, unfettered by the normal expectations of the genre, is a rare and wondrous thing. That's precisely what director Michel Gondry, working from a screenplay by Charlie Kaufman (Being John Malkovich, Adapatation), delivers. Without being too offbeat or esoteric, Eternal Sunshine of the Spotless Mind nevertheless manages to convey romance without forcing the mind to shift into neutral or dragging the characters through a formulaic structure where chemistry becomes the most important asset.
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The Perfect Score
Teens will enjoy The Perfect Score, but there's not a lot here for older audiences.
After having received poor scores on the SAT, five students panic before taking the retest. Kyle is desperate to get into his favorite college and attend architecture school, but his scores are well below the admission requirements. Anna is an overachiever who took the test and completely choked. Matty is trying to get a score high enough to join his girlfriend in college on the East Coast. Roy is the school stoner and though he's smart, he hasn't applied himself to his studies. Desmond is the star basketball player for the school and needs a minimum SAT score to get into St. Johns.
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It's hard to believe that The American President was made by the same man responsible for the no-holds-barred satire of This Is Spinal Tap. Is there any element of American culture more ripe for the humorist's razor-sharp wit than presidential politics? Yet, heedless of what it might have been, this film is content to hunker down in the valley of feel-good entertainment, sacrificing intelligent plotting for mass appeal. While neither bad nor unwatchable, The American President is nevertheless the second straight disappointment from director Rob Reiner (his previous effort being North).
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Courage Under Fire
It's often said that if you're going to borrow, borrow from the best. And, in motion pictures, one of the best is certainly Akira Kurosawa. His The Seven Samurai was remade as John Sturges' immensely popular The Magnificent Seven. His The Hidden Fortress inspired George Lucas' epic Star Wars. And now, the premise of 1950's Rashomon has been re-worked by director Edward Zwick and screenwriter Patrick Sheane Duncan for Courage Under Fire, a powerful and intelligent examination of the consequences of guilt and responsibility, and the meaning of absolute truth.
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Mitchell Y. McDeere (Tom Cruise) has just graduated in the top five of his class from Harvard Law School. With a record like his, there are understandably a lot of people interested in employing him. Offers abound from the large, the prestigious, and the desirable, but eventually it's a small firm from Memphis that snares Mitch's services. Bendini, Lambert, and Locke make the terms of his joining so enticing that the deal is impossible to turn down -- a starting salary near $100,000, a low-interest mortgage so he can buy a house, free use of a Mercedes, and repayment of his college loans. At first, Mitch and his wife Abby (Jeanne Tripplehorne) eagerly celebrate their new life and home, but it doesn't take long for the euphoria to wear thin. Two members of the Firm die under suspicious circumstances, and soon Mitch begins to wonder what secrets lie behind the locked doors of Bendini, Lambert, and Locke.
At the BNS headquarters, BNS Special Agent Alex Scott (Owen Wilson) is accosted by his rival, Carlos (Gary Cole), before being debriefed on his next mission. Scott is assigned to recover a stolen fighter plane sold to arms dealer Arnold Gundars (Malcolm McDowell). The plane is known as the "Switchblade" and is invisible to both radar and the naked eye. The BNS learns that Gundars is sponsoring Middleweight world boxing champion Kelly Robinson (Eddie Murphy)'s next match, and is using the event to auction off the plane. The agency has contacted Robinson and assigned him to be the civilian cover for Scott's mission. Scott and Robinson travel to Budapest, where Scott plans to penetrate Gundars' compound during a pre-fight party taking place that night. The duo clashes from the beginning, with Robinson treating Scott as a new member of his entourage. Robinson is initially wary of Scott's penetration plan, but is convinced after Scott frightens Robinson while maneuvering the plane and gives Robinson a pair of contacts that allow Robinson to see whatever Scott sees.
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When a CIA agent is killed during a nuclear arms purchase, his partner Oakes, recruits his twin brother, Jake Hayes. Jake had no idea he had a twin brother, let alone that he worked for the CIA. Jake, a.k.a. Michael Turner, has nine days to fill his brothers place. However, the enemy terrorists learn of his secret identity and kidnap his girlfriendfiancee. He has to rescue them and save New York city from an imminent nuclear terrorist act.
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A masochistic cop, who hides her predilection from her cop husband, gets involved in pursuing a kidnapper nicknamed Harry for Harry Houdini, who has kidnapped a rich woman and has buried her somewhere in Manhattan while demanding a ransom from her tycoon husband. Failure to pay the ransom within 24 hours will lead the kidnapper to abandoning the woman. Dylan Baker also appears as the fed that is assigned to the case.
Half Broken Things
A middle aged house-sitter meets two tearaways, and together they form a surrogate family
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