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4,302 results
    • Beauty in Trouble

        Several years after the 2002 flood that devastated Prague, Marcela (Ana Geislerova) and her family are still sorting through the rubble. With no insurance, their ramshackle house is in disrepair and full of mold, while her mechanic husband Jarda (Roman Luknar) has turned the adjacent garage into a chop shop for stolen cars. Fed up with her circumstances, Marcela decides to leave Jarda, but not before some volcanic, hair-pulling sex that leaves their embarrassed kids covering their ears in the next room. Cramped into an apartment with her passive mother Zdena (Jana Brejchova) and loathsome stepfather Risa (Jiri Schmitzer), Marcela doesn’t notice the distrust and resentment building in her children; she’s too busy reliving the upheavals of her own adolescent psychodrama. Meanwhile, Benes (Josef Abrham) also finds himself in the midst of an awkward homecoming. An émigré who lives in Italy, he’s received his Prague family home in a court settlement, only to find the current occupant is caring for her dying mother.
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    • Don't Say a Word

        Director Gary Fleder (Kiss the Girls) doesn’t need to say a word: He fashions Andrew Klavan’s novel into a richly colored moving picture book of suspenseful, but two-dimensional, melodrama that makes strange bedfellows of ruthless crime and simplistic psychiatry. Even a stylish Michael Douglas thriller needs more than visual artistry.
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    • Gush gush

      Faith in the power of love and an artist’s right to dream; plus the director’s virginally hot girlfriend
        The Fountain is such an audacious creative experiment, that it's easy to forget it's just three films in one: a faux historic action epic, a weepy medical melodrama and an interstellar freak-out that defies classification. Hugh Jackman is a model of focused intensity in a triple role, variously a fierce 16th century Spanish explorer on the hunt for the source of eternal life deep in the Mayan jungle, a dour modern medical researcher desperately racing to find a cure for his dying wife, and a bald, Buddha-like astronaut hurtling through the void in a soap-bubble shaped ship on a space odyssey to a distant nebula. All three share the name Tom or Thomas, and they may or may not be the same guy, or manifestations of the same soul, but all are driven lovesick by a consuming passion for a woman named Isabel. Fortunately, the film is more concerned with visuals than dialogue, dispensing with conventional storytelling and transfixing the viewer with a golden-hued cosmic light show.
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    • Ray

        Like many Hollywood biopics, this is a respectful, if not particularly penetrating, homage to Ray Charles. Jamie Foxx turns in a remarkable performance, in which he meticulously and convincingly recreates Ray Charles. But ultimately, what makes Ray a real pleasure is the music. Charles’ toe-tapping, heart-thumping R&B is passionately infectious and Foxx’s bouncing body jitterbug is a dead-on imitation of the blind soul king.
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    • The Order

        A hunky but celibate Heath Ledger (A Knight’s Tale) as a demon-vanquishing priest out to solve the mystery behind the death of a fellow exorcist. A climactic showdown with a "sin eater" ensues. Father, forgive them.
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    • How to Eat Fried Worms

        The 1972 book by Thomas Rockwell is an evergreen favorite of kiddie lit, prized as much for its message as the gross-out-factor. The screen version varies in details, but sticks to the main plot: once-popular fifth-grader Billy (Luke Benward) is struggling to fit into a new school in a new town. He’s soon faced with the head bully: detestable, freckle-faced snot Joe (Adam Hicks), who’s fond of pummeling kids with his weapon of choice, a “death ring” supposedly laced with a slow-acting poison that won’t kill a victim until the eighth grade. After the pre-teen goon squad replaces Billy’s Jell-O with a pile of slimy night crawlers, to save face he claims to love eating the stuff and bravely submits to a challenge to eat 10 of them in a day without puking. The bulk of the movie is a grueling catalog of ways to serve up creepy crawlers, from lard-fried to microwaved: It’ll make kids squeal and the adults want to ralph their Milk Duds.
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    • Bean

    • Identity

        Geezer: HHHH / Weezer: HHHH

        Director James Mangold’s dread-on cocktail of claustrophobia and psychosis will do a lot for the filmmaker’s rep, but even more for late-night video rentals for decades to come. Weezer says, "What a shocker! I was hoping for an above-average mystery-horror-thriller, but this was awesome."

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    • Young@Heart

        Few things in this world could sound more depressing on paper than the prospect of a feature-length senior-citizen talent show. So consider it a triumph that Young@Heart overcomes it’s dauntingly cutesy premise — a doc about a chorus of old-timers singing punk, hip-hop and rock tunes — to succeed as both rousing entertainment and a poignant reflection on aging. Brit Director Stephen Walker caught the Young@Heart tour on a stop in London and was instantly enchanted by them — and chances are even the flintiest soul will be charmed by them by the second reel.
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    • A flight to remember

      9/11- inspired thriller shows spirit in the sky and confusion on the ground
        British filmmaker Paul Greengrass (The Bourne Supremacy, Bloody Sunday) walks an exceedingly thin tightrope as he tries to maintain proper respect for the families of the dead while presenting an unvarnished, factual interpretation of what happened to the living. The narrative avoids political rhetoric or excessive sentiment and Greengrass doesn’t point fingers about the security failure, instead suggesting instead that our entire institution failed on 9/11. The handheld documentary-style filmmaking puts us right into the center of the action. It’s a difficult film to sit through. In many ways United 93 strives to be less a movie and more a memorial to what happened on that beautiful autumn morning.
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    • Attraction

        Director Russell DeGrazier explores the nature of need with smart toughness: With his newspaper column and a radio call-in show, Matthew Settle dispenses tough-love pearls of wisdom that he will not heed, particularly when it comes to his ex-girlfriend (Gretchen Mol), whom he has been stalking.
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    • Wild Grass

      A fanciful exercise in aesthetic and intellectual masturbation?
    • Ziggy Stardust and the Spiders from Mars

        D. A. Pennebaker's documentary record of David Bowie's last concert featuring his Ziggy Stardust persona is a pretty bare-bones affair, with a few backstage snippets to add a touch of intimacy to the historical moment. Now restored and sounding good, it's still not one of the great concert films.
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    • War/Dance

        Sean and Andrea Fine’s luscious and leering documentary tries to tell the inspirational tale of traumatized children achieving grace through artistic expression. The former National Geographic filmmakers dangerously toe the line between uplift and exploitation. Rose, Dominic and Nancy are young teens living in the Northern Ugandan refugee camp Patongo. A dangerous and isolated place, they and 60,000 other Acholi tribe members live in dusty destitution, fearful that murderous rebels — the Lord’s Resistance Army — will steal them away in the night. Survivors of unthinkable tragedies, the children’s one shining hope is a chance to win the National Music Competition in Kampala. Against all odds, their elementary school has qualified to compete, but resources are scarce and few instructors are willing to brave the trip to rehearse them. Undaunted, the children spend every moment of their free time practicing and dreaming … and you’d have to be a total bastard not to be moved by the strength of their spirit.
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    • Ellie Parker

        To call this actor Scott Coffey’s four-year labor of love would insinuate that the movie was well-made, possibly exquisitely photographed or even meticulously edited. Ain’t so. Most junior-high class projects have higher production quality. *Ellie Parker* is very much evidence of what one well-connected man can do when he scrapes together a few big names (Keanu Reeves and Chevy Chase make cameos) and a few thousand bucks. Yet, besides the shoddy cinematography, Coffey’s full-length expansion of his 2001 short film by the same title shows he has some promise as a filmmaker — or least a generous friend in star Naomi Watts.
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