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Here are ALL the new movie releases coming out this week in our weekly "This Week In Movies" article:… https://t.co/4ovkHb5jQ2

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Mack Chico

By

2008/04/04 at 12:00am

Leatherheads

04.4.2008 | By |

Rated: PG-13 for some strong language.
Release Date: 2008-04-04
Starring: Duncan Brantley, Rick Reilly
Director(s):
Distributor:
Film Genre:
Country: USA
Official Website: http://www.leatherheadsmovie.com/

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Leatherheads
Mack Chico

By

2008/03/28 at 12:00am

21

03.28.2008 | By |

Rating: 3.0

Rated: PG-13 for some violence, and sexual content including partial nudity.
Release Date: 2008-03-28
Starring: Peter Steinfeld, Allen Loeb
Director(s):
Distributor:
Film Genre:
Country:NULL
Official Website: http://www.sonypictures.com/movies/21/

 Go to our film page

21 is a perfect example of how something that’s “based” on a true story can nevertheless exist mainly in the realm of fiction. While it’s true that the source material for the movie, Ben Mezrich’s Bringing Down the House relates events that actually happened, screenwriters Peter Steinfeld and Allan Loeb have fictionalized the entire story, leaving intact only the central idea that a group of MIT students devised a card-counting scheme that allowed them to fleece the Vegas casinos. And, while I’m firm believer in the adage “Never let the truth get in the way of a good story, ” 21 doesn’t spin a good enough yarn to justify all the changes. In fact, when one character indicates to another that he started out smart then got sloppy and stupid, he might have been referring to the script.

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Our “entry point” into 21 is Ben Campbell (Jim Sturgess), a graduating MIT senior who has already been admitted to Harvard Med School. There’s a problem, though: Ben can’t raise the needed $300,000 (never heard of student loans, I guess) and his chances of getting a “free ride” scholarship appear slim. Along comes Professor Micky Rosa (Kevin Spacey), who brings with him a too good to be true offer: a space has opened up on his “team” and he’s offering it to Ben, one of the most gifted mathematical minds he has encountered during his time teaching at MIT. The “team” is a group of five students who visit Las Vegas regularly and put into effect a sophisticated card-counting scheme that the casinos have been unable to break. Initially, Ben refuses, but the allure of Harvard Med plus his attraction to Jill Taylor (Kate Bosworth), one of Micky’s special students, pulls him in. After a local initiation, it’s off to Sin City for Ben’s official induction. There, waiting to match wits with him is Cole Williams (Laurence Fishburne), the head of security at Planet Hollywood.

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The idea behind 21 is compelling – tell how a group of college kids beat one of the most sophisticated anti-crime systems in place anywhere around the world. Unfortunately, the problem is with the execution. Perhaps because there’s math involved, 21 doesn’t do an effective job of providing the bare-bones details of how the crime is pulled off. It hedges and cheats and employs lots of quick edits but we don’t get anything close to a coherent description of what the kids’ methods are. It doesn’t take long before the film relegates the heist elements to the background so it can focus on clichéd interpersonal relationships, including a tepid romance between Ben and Jill. Finally, the movie ends with a series of Hollywood staples, including a chase and a “twist” that won’t surprise anyone.

 

21 is yet another instance of Hollywood dumbing-down smart people. In order to pull off something as audacious and successful as what the MIT students did, they had to be geniuses. Yet, as portrayed in the movie, they’re ineffectual blunderers. Some of the things they do are so stupid that they’re insulting. Of course these characters are eventually going to get caught doing these sorts of things. How could they not? Audiences enjoy watching heist movies where the characters are two steps ahead (not two steps behind) and where the narrative provides some surprises. Neither characteristic is evident here. And, in addition, the resolution has an unpleasant “have your cake and eat it” quality. The fingerprints of those demanding a Hollywood ending are all over this screenplay.

 

Jim Sturgess, who has survived the Beatles debacle Across the Universe relatively unscathed, gives a nice turn as shy Ben, who gradually emerges from his shell as he gains more confidence in his newfound skills. It’s a familiar character arc but Sturgess’ performance allows us to buy into it. Kevin Spacey provides his customary intensity; he’s fun to watch even when he’s not in peak form. His Superman Returns co-star, Kate Bosworth, isn’t as successful. Her performance is wooden and she and Sturgess don’t click as a couple. Laurence Fishburne is wasted in a stereotypical thug role and no one else has enough lines to be worth mentioning. The supporting characters in 21 truly are one-dimensional.

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Another disappointing aspect of 21 is its sluggish pace. The high-energy Vegas setting doesn’t increase the wattage of the production. The movie is a little over two hours in length but feels longer. Some of the movie’s last-act “action” sequences have been inserted primarily as a way to liven things up, but they’re so pointless and derivative that all they do is drag out the running length. (Are we really supposed to be thrilled by scenes of Sturgess and Bosworth being chased by bad guys through a series of casino kitchens?) When it comes to the other two heist movies currently playing in theaters, The Bank Job and Flawless, the only advantage one could attribute to 21 is the youth of its cast. When judged on the basis of story, excitement, surprises, and character development, 21 comes in a distant third.

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Mack Chico

By

2008/03/28 at 12:00am

21

03.28.2008 | By |

Rated: PG-13 for some violence, and sexual content including partial nudity.
Release Date: 2008-03-28
Starring: Peter Steinfeld, Allen Loeb
Director(s):
Distributor:
Film Genre:
Country: NULL
Official Website: http://www.sonypictures.com/movies/21/

Go to our film page

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Alex Florez

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2008/03/13 at 12:00am

Dr. Seuss' Horton Hears A Who?

03.13.2008 | By |

Rated: G
Release Date: 2008-03-14
Starring: Ken Daurio, Cinco Paul
Director(s):
Distributor:
Film Genre:
Country: USA
Official Website: http://www.horton.es/

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Dr. Seuss' Horton Hears A Who?

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Mack Chico

By

2008/03/07 at 12:00am

The Bank Job

03.7.2008 | By |

Rating: 3.5

Rated: R for for sexual content, nudity, violence and language.
Release Date: 2008-03-07
Starring: Dick Clement, Ian La Frenais
Director(s):
Distributor:
Film Genre:
Country:NULL
Official Website: http://www.bankjobmovie.co.uk/

 Go to our film page

The Bank Job is a heist movie in the classic tradition – it details every aspect of the caper, from its genesis to its aftermath. The fact that there’s political intrigue and espionage swirling around the edges only makes it more fascinating. Director Roger Donaldson, whose resume includes films as diverse as Dante’s Peak and The World’s Fastest Indian, keeps the pace at a high level so even the “down” moments are driven forward by the film’s momentum. And, unlike some crime movies that become so fixated on the plot that everything else gets lost in the mix, Donaldson and his screenwriters take the time to develop the characters.

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The Bank Job is based on a true story – a daring 1971 robbery that made front page headlines until MI-5 made a D-Notice request that stifled further coverage by the press (on the grounds that it created a danger to National Security), driving it from the newspapers and into myth and memory. While some of the facts are known, there are many gaps in the official record. Screenwriters Dick Clement and Ian Lefrenais, supposedly collaborating with anonymous inside sources, seek to provide caulk for many of those gaps. Some of what appears on-screen in The Bank Job is speculative, but much has the ring of truth and fits in with the facts. Of course, since the names have been changed “to protect the guilty,” The Bank Job doesn’t provide any shocking revelations about still-living individuals. What it accomplishes, however, is to present a possible autopsy of a crime that has baffled people for decades. And, regardless of whether it’s more fact or fiction, it provides an enjoyable two hours.

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The Bank Job‘s protagonist is Terry Leather (Jason Statham), a typical dodgy East End character. He runs a car-sales garage, is in debt to a loanshark who believes in more than “harsh words” when it comes to repayment, and – perhaps surprisingly – is happily married to the love of his life, Wendy (Keely Hawes). He is a doting father and husband. Enter Martine Love (Saffron Burrows), an old flame-who-might-have-been. When she needs a “villain” to help her with a heist, she approaches Terry with a proposition. She’s in possession of information that could net him a lot of money if he can put together a team on short notice to break into the safety deposit vault of a Baker Street bank. With his greed overcoming his good sense, Terry in inclined to believe her but, unbeknownst to him, Martine is not on the level. The puppeteer pulling her strings is an MI5 agent named Tim Everett (Richard Lintern), and he’s after the contents of safety deposit box 118 – compromising pictures of Princess Margaret that are being used to blackmail the government. So Terry gathers his crew of six, which includes Martine, a couple of close friends (Stephen Campbell Moore, Daniel Mays) and two others, without being aware of what he’s really getting involved in.

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When one looks back at the plot of The Bank Job from a post-end credits perspective, its complexity is apparent. It weaves together a large number of subplots, including police corruption, MI5 gamesmanship, hard-core criminal activity (including murder and extortion) and, of course, the caper itself. By eliminating flashy cinematography and editing, approaching the material in a clear, chronological fashion, and providing only the details necessary to flesh out crucial aspects of the story, the filmmakers never lose the viewer in a muddle of tangential characters and issues. The audience isn’t left for long to wonder about the purpose of the naked water frolic at the beginning or the incorporation of crime lord/activist Michael X into the mix.

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For better or worse, this is the kind of character with which Jason Statham has become associated. Over the course of a career begun under the guidance of Guy Ritchie, most of his performances have fallen into this “tough guy” category, so it’s impossible to argue with the casting. He’s easily the best-known member of the troupe. Some viewers may recognize Saffron Burrows or David Suchet, but neither has a mainstream following. The important thing to note is that everyone disappears into their roles, which is the kind of thing one has come to expect from low-profile British movies. When the entire supporting cast is comprised of character actors, this result is achieved.

 

Much as I enjoyed Stephen Soderbergh’s Oceans trilogy (more for the camaraderie and chemistry of the actors/characters than for the plots), The Bank Job illustrates how much more richness there can be in a heist movie when layers are fabricated into the story and the narrative extends beyond the central caper. When this movie ends, the viewer feels as if he has seen an entire tale unfold rather than merely having been granted the chance to peer through a window at the inner workings of an infamous historical crime. The Bank Job is smart, well-paced, exciting entertainment for adults – something that is more of a rarity than it should be.

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Mack Chico

By

2008/03/07 at 12:00am

The Bank Job

03.7.2008 | By |

Rated: R for for sexual content, nudity, violence and language.
Release Date: 2008-03-07
Starring: Dick Clement, Ian La Frenais
Director(s):
Distributor:
Film Genre:
Country: NULL
Official Website: http://www.bankjobmovie.co.uk/

Go to our film page

The Bank Job

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2008/03/07 at 12:00am

CJ7

03.7.2008 | By |

Rated: PG for strong language.
Release Date: 2008-03-07
Starring: Stephen Chow, Chi Keung Fung, Vincent Kok, Sandy Shaw, Kan-Cheung Tsang
Director(s):
Distributor:
Film Genre:
Country: Hong Kong
Official Website: http://www.sonyclassics.com/cj7/

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2008/03/04 at 12:00am

The Orphanage

03.4.2008 | By |

Rated: R for some disturbing content
Release Date: 2007-12-28
Starring: Sergio G. Sánchez
Director(s):
Distributor:
Film Genre:
Country: Spain
Official Website: http://www.clubcultura.com/clubcine/clubcineastas/guillermodeltoro/elorfanato/

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The Orphanage

De estilo barroco, con características similares a The Others, y anunciada con bombo y platillo, llega hoy a todas las salas de Estados Unidos la cinta extranjera más esperada del año: El Orfanato.

La película española protagonizada por Belén Rueda, quien interpreta a una madre de un niño que está infectado de VIH, narra la historia de una pequeña familia que habita en una casona ubicada en medio de la nada, y que en la antigüedad solía ser un orfelinato.

Simón, quien en realidad es hijo adoptivo, (interpretado por un excelenteRoger Príncep), pasa sus días jugando con sus amigos imaginarios, hasta que en un momento inesperado, desaparece de la casa y nadie lo puede encontrar.

Así inicia un juego de susto tras susto en el que Belén Rueda (quien sin duda despierta comparaciones con la Nicole Kidman perdida en una casona tratando de entender qué sucede ahí), comienza a tener visiones del más allá.

¿Por qué los amigos imaginarios de su hijo tienen los nombres de quienes habitaban ese orfanato años atrás?

Esta es sólo la premisa básica de la película producida por Guillermo del Toro, y sin querer revelarles más, las cosas dan un giro de 180 grados cuando Édgar Vivar (el mismísimo señor Barriga), y Geraldine Chaplin, aparecen como en Poltergeist (1982), dispuestos a tratar de contactar a los espíritus perdidos en aquella casona (si es que los hay).

El orfanato podrá tener inspiración casi descarada de varias películas – más allá de las mencionadas incluso – pero su magia radica en la fuerza de Belén Rueda, quien hará hasta lo imposible por encontrar a su hijo, y en la forma en que logra conmovernos al recordarnos la importancia de la infancia.

¿Por qué los niños siempre están solos? ¿Por qué los adultos los tratamos como seres que no existieran, pensaran, sintieran? ¿Por qué no les creemos y los ignoramos hasta que cumplen la mayoría de edad? En realidad, los niños, tengan padres o no, muchas veces viven en un orfanato metafórico.

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