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Killer of Sheep
Charles Burnett's Killer of Sheep (1977) has perhaps been more written about and appreciated than actually seen. By now there's no question that it belongs in the canon of greatest American movies. And now that the problem of song rights has been resolved, people can finally see it. Burnett had included a selection of music in the film ranging from Dinah Washington to Paul Robeson, without securing the rights. Thirty years later, all of these issues have been cleared up and UCLA has struck a new, 35mm print to be officially released in U.S. theaters for the first time. (The distributor, Milestone, will follow with a DVD release of this and other rare Burnett films.)
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The Perfect Sleep
Easy on the eyes but brutal on the ears, “The Perfect Sleep” fuses Shakespearean tragedy and noir iconography into a strange, lovely, leaden ball of confusion. Attempting a mythic tale of warring dynasties and ancient grudges, the director, Jeremy Alter, wavers between homage and parody. But you can’t look at something sideways while placing it on a pedestal: that’s how you break your neck.
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After winning top honors at the Venice Film Festival, Darren Aronofsky's The Wrestler rapidly became the must-see of the Toronto International Film Festival, with huge lines at the press and industry screening this afternoon seemingly unaffected by the news that Fox Searchlight had purchased the film. After seeing The Wrestler for myself, I feel the need to extend a note of caution about the film, which sailed into Toronto buoyed by advance raves for Mickey Rourke's performance as Randy "The Ram" Robinson, a low-level professional wrestler -- and we soon see how really, both those words could be in quotation marks -- whose '80s glory days are long over, scraping by at low-level, low-paying matches until a heart attack forces him to leave the ring and look at his life in the shadow of death. Many have already written about the parallels between Mickey Rourke and the swaggering, scarred wrestler he plays -- early success, fame and notoriety, a series of mis-steps and mistakes taking it all away bit by bit as the years advanced -- and the charge Rourke's own rise and fall offers a filmmaker like Aaronofsky looking to explore ruin and redemption.
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Every once and a great while you watch a film and for some reason you know you shouldn't be liking it. It's just so cheesy, so over the top, so obvious, and just over all cheesy. But whenever I see movies like that it brings me back to my favorite time in horror history, the 80s. Films during that period were great because all they really needed to have was some boobs and some blood. They were all shot on film and had at least a half way decent plot. The good ones anyway. Devils Den is definetly one of those movies that you just grab a couple of friends, pick up a keg, sit back and enjoy.
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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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According to several of the roughly 100 talking heads in The Aristocrats, The Joke has been around for a long time, dating back to the days of vaudeville. In addition to being called "The Aristocrats," it has other names, like "The Sophisticates." It goes something like this: A man walks into a talent agent's office and says, "Have I got an act for you! It's the most incredible, original act you'll ever see. My family goes on stage and does… [insert a variety of unspeakable acts, often involving incest, sexual deviancy, bestiality, necrophila, and scatology]" When he's done, the talent agent replies, "That's quite a show. What are you called?" The response (and punch-line): "The Aristocrats."
In a slightly alternate world not too far in the future a young girl called Rebecca (Ruby O.Fee) is embraced by Thomas (Tristan Christopher) her neighbor, in an undisclosed coastal town where she is staying with her grandfather. They bond and become close, but Rebecca leaves, only to return 12 years later (Eva Green) to find Thomas (Matt Smith) and reignite their complicated childhood romance. When Thomas is tragically killed, Rebecca utilizes modern technology to commit a heinous taboo of cloning Thomas and giving birth to him, and learns to live with her decision until the inevitable moment of truth arrives.
February 22, 1980. For hockey fans, that day will be forever remembered. "The Miracle on Ice," as it became commonly known, was to some a battle in the Cold War and to others the greatest upset in sports history. But to those who played in the game, it was validation and an opportunity to move on to win an Olympic gold medal. In the United States, hockey has always been the runt of the major sports litter, trailing football, baseball, and basketball in popularity. But, for a few days in Lake Placid 24 years ago, it was suddenly, briefly bigger than all of its siblings.
Rumor Has It...
Rumor has it that Rumor Has It… experienced a rocky production history. First-time director Ted Griffin was removed from his position just as production was beginning, necessitating an eleventh-hour change. The cinematographer was replaced, allegedly because he may not have been filming certain cast members in the most flattering manner. And some of the roles changed hands. With all of that instability, it's no wonder that the final production is an unfocused mess, with poor chemistry all around and an ending that's as firm and satisfying as an overcooked noodle. The film's few high points are outweighed and outnumbered by sequences that don't work and cast choices that should have been re-thought.
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I Know Who Killed Me
It has not been a good week for Lindsay Lohan. First, she does irreparable damage to her image by engaging in the sort of irresponsible and self-destructive behavior we have come to expect from her. Then she is "portrayed" on The Tonight Show by the terminally unfunny Rob Schneider. Finally, to add insult to injury, she shows up on screen in a crapfest called I Know Who Killed Me, which holds the dubious distinction of not only being a surefire member of the end-of-the-year Bottom 10 but easily marks the worst movie Lohan has appeared in and the worst performance she has given. Her participation in I Know Who Killed Me should be Exhibit A for the prosecution: only someone with impaired faculties could agree to star in this movie.
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Writer/director Paul Schrader has always been fascinated by the line between sanity and madness, and what it takes to push a man over the edge. This theme stands out in two of Schrader's best known scripts, Taxi Driver and Raging Bull, both of which were forcefully brought to the screen by director Martin Scorsese and actor Robert DeNiro. Now, some 20 years later, Schrader has returned to similar emotional territory. The vehicle is Affliction, an adaptation of a book by acclaimed novelist Russell Banks (who wrote the source material for Atom Egoyan's superlative The Sweet Hereafter). This time, Schrader is behind the camera and the subject of his intense scrutiny, Wade Whitehouse, is portrayed by Nick Nolte.
Meet the Feebles
And now for something completely different...
Originally released in New Zealand during 1989, Peter Jackson's cult hit Meet the Feebles is only now receiving its official United States "tour", opening for short runs in select art houses across the country over a six month period. Those not specifically on the lookout for this film will probably miss meeting the Feebles, which may be a good thing, considering the potentially- horrified reaction of someone who unwittingly walks into a theater showing this feature.
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On the scale of dumb summer comedies, Safe Men ranks a lot closer to Mafia! than to There's Something about Mary. Oh, the film has its share of amusing moments, and a few of the roles have been filled through inspired casting, but there's still too little here to justify a trip to a movie theater. It would be a lot easier to recommend this picture for video viewing, since we demand so much less of the product that plays in our living rooms.
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Robin and the 7 Hoods
The Rat Pack packed it in after this sprightly musical comedy that owes more than it should to Damon Runyon's stories and Frank Loesser and Abe Burrows's classic musical Guys and Dolls. Sammy Cahn and Jimmy Van Heusen's bright and snappy score features such songs as "Style", "Bang-Bang" and the Sinatra standard "My Kind of Town". Set in 1920s Chicago, the tale begins during a birthday party for head mobster Big Jim (Edward G. Robinson) who is shot to death during the celebration. Rival gangster Guy Gisbourne (Peter Falk) immediately declares himself the chief gangster.
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Japans number one extreme reality show is having its first all-American special! Six lucky contestants, chosen from thousands of applicants, will have the chance to win millions of dollars, and all they have to do is stay alive!
The Legend of Aerreus Kane
Hero Aerreus Kane attempts to rescue Lucinda has been captured by an evil vampire who resides in a church crypt.
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