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Movie Reviews: Articles - Page 1

The Village -- The story opens with a funeral attended by all who live in a specific village, followed by a great meal of corn on the cob and other foodstuffs readily found in a time and place long ago and far away.
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Garden State -- Here is a film that should succeed on all levels engaged, but doesn't. Instead, it fails without exception, and the singular reason is because of behavior on the part of the actors, which, simply, is not honest.
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Harold & Kumar Go To White Castle -- It was not my intention to turn this review about a so-so road picture, a comedy, into an examination and subsequent explanation of How Things Work In The Hollywood Machine based on first-hand experiences, because, well, the flick at hand is by no means a lofty and esteemed effort worthy of such consideration, but given what passes for comedy and humor nowadays, all things being relative, "Harold & Kumar Go To White Castle" is certain genius.
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Collateral -- "Collateral" opens with Cruise exchanging briefcases with a stranger in an airport. Why? What is this all about? Before the question can be answered, before other questions relating to the situation can be asked the movie turns and seemingly becomes another movie: Now there is a cab driver named Max (Jamie Foxx, in a role that will no doubt get him more dramatic roles, if he so desires them), who picks up a fare named Annie (Jada Pinkett Smith).
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Hero -- Director Zhang Yimou, who previously created the wonderful and visually poetic "Raise the Red Lantern", returns to create an equally impressive and beautiful work with his latest film, "Hero", a martial arts extravaganza that transcends form and genre, and simultaneously creates a visual poetry of physical violence and savage beauty.
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Catwoman -- Now I could mount a substantial laundry list of the faults, failures, and shortcomings that go to make this movie, but, really, there is no point. This movie, short and sweet, blunt and hard, is a waste whose only claim to fame is that it trascends the known definition of 'failure'.
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I, Robot -- "I, Robot" takes place in Chicago around the year 2035, in a city where new skyscrapers share the skyline with such architectual landmarks as the Sears Tower. But be aware: The tallest of these structures is the building that belongs to U.S. Robotics. And it is in this building, on the floor of the atrium lobby where the body of its chief robot designer, is found. The cause of death: Suicide. Apparently.
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Anchorman: The Legend Of Ron Burgundy -- "Anchorman: The Legend Of Ron Burgundy" fails because it desires and perspires to be more than just funny. Why it is compelled to be more than funny is unclear, and unfortunate. I wanted to like it instead of loathing it, as I did.
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Spider-Man 2 -- To suggest "Spider-Man 2" is a good movie is an understatement, and undeniably insulting to those who committed time, energy, and resources to its making. "Spider-Man 2" quite possibly is the best superhero movie to be made since the theatrical version of "Superman" in 1978.
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The Stepford Wives -- If you know about the original film then you know, or should know, it is a horror no one should desire. Here's the thing: The remake is by no stretch of the imagination a horror flick. It is, simply, a comedic romp. Nothing more.
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Chronicles Of Riddick -- In the movie "Chronicles Of Riddick", in the opening moments, there is a character named Aereon, who effectively says the same thing, but with different motives and intentions: In normal times, evil should be fought by good, but in times like this, well, it should be fought by another kind of evil.
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The Terminal -- "The Terminal" is what comedy should be, but rarely is nowadays: It is almost perfect. It is filled with laughs, big laughs, but it never fights to get these laughs; it doesn't need to: It knows when to go for a joke, a laugh, and when to let comedy simply happen. There is reason for this, of course: A hero. His name is Viktor Navorski. He has arrived to a massive, vast American airport just as his country, his nation, Krakozia, has fallen in a coup.
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