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41-50 of 83

A true character study.

Two Lovers (2008) is the last Joaquin Phoenix movie unless he decides to return from his music career. With a rather simple and predictable plot you may wonder what the appeal is. The movie revolves around Leonard Kraditor (Phoenix), a suicidal case of a depressed man who was left by his fiancée and has now moved back in with his parents. He is ...

Read more

Review by: DainBinder

Added: 8 years ago

 

An extraordinarily simple and captivating film.

Wendy and Lucy (2008) is an extraordinarily simple and captivating film starring Michelle Williams and Lucy the dog. The rhythmic music and sounds combined with exquisite composition and hypnotic acting make the film a piece of moving art. Although simple, the film and its message are intense. Wendy (Michelle Williams) and Lucy allow us to peer ...

Read more

Review by: DainBinder

Added: 8 years ago

A very revealing and telling history.

Tyson (2008) is a very revealing and telling history of Mike Tyson's life told by Tyson himself. He talks through his childhood up to current day in a very open and candid manner. The filmmaker (James Toback) did a perfect job of letting him tell his story without coaxing or slanting the film to any side; it is simply Mike's story. Most of the ...

Read more

Review by: DainBinder

Added: 8 years ago

 

Mild comedy of manners.

Mrs. Whittaker (Kristin Scott Thomas) has a first name, but it's almost never spoken, since she is a prim and proper member of the British aristocracy. Her husband, Mr. Whittaker (a grizzled looking Colin Firth), survived the Great War but mentally checked out afterwards. Together the two of them and their two grown daughters, Hilda (Kimberley ...

Read more

Review by: SteveRhodes

Added: 8 years ago

Brilliantly directed.

"You decided you wanted her dead," Price (Tom Sizemore), an aging hit man, tells his new client, "that means she's already dead. She just doesn't know it yet." And a few days later, when Sarah (Sasha Alexander) hasn't been murdered yet, Price has to reassure his restless client that hiring him means the act is certain -- repeating a variation on ...

Read more

Review by: SteveRhodes

Added: 8 years ago

 

A minimalist tale told beautifully.

Writer and director Atom Egoyan is a cinematic master at creating incredibly sad and affecting tone poems to life's morose moments. He has never created anything as brilliant as his forever memorable THE SWEET HEREAFTER, a mesmerizing examination of the tragic results of a bus crash on the inhabitants of a small town. Egoyan's latest story is a ...

Read more

Review by: SteveRhodes

Added: 8 years ago

While it's never a bad movie, it is never a memorable one either.

"The poorest of places are where you'll find the diamond in the rough," the narrator tells us in RUDO Y CURSI. The film reunites Y TU MAMA TAMBIEN's two stars, Diego Luna and Gael Garcia Bernal, who play brothers Beto and Tato. While there's nothing wrong with their latest collaboration, it never reaches the level of the consistently entertaining ...

Read more

Review by: SteveRhodes

Added: 8 years ago

 

Thoroughly enjoyable and entertaining.

EVERY LITTLE STEP, by directors Adam Del Deo and James D. Stern, is a documentary that follows people auditioning for a musical about people auditioning for a musical. So does the mere description of this documentary about people auditioning to get parts of the Broadway revival of "A Chorus Line" have your heading spinning? Well, don't worry. ...

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Review by: SteveRhodes

Added: 8 years ago

Beautiful but rarely compelling.

Always beautiful but rarely compelling, PARIS 36 (FAUBOURG 36) is the second feature film by director Christophe Barratier. His first picture, THE CHORUS (LES CHORISTES), which was basically a subtitled MR. HOLLAND'S OPUS, was a huge hit in its native France and was nominated for two Academy Awards (Best Foreign Language Film and Best Original Song...

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Review by: SteveRhodes

Added: 8 years ago

 

Finds its own, wonderful voice.

“She took a giant shit on my face.” Ah, we can all relate to that one. Not literally, of course, unless there happen to be some German scheisse video performers in the audience. This is a sentiment expressed by young Tom Hanssen after he breaks up with the maddening girl of his dreams. He serves as our surrogate in one of the funniest, most ...

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Review by: MiamiMovieCritic

Added: 8 years ago

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__domel__body => '&lt;p&gt;Two Lovers (2008) is the last Joaquin Phoenix movie unless he decides to return from his music career. With a rather simple and predictable plot you may wonder what the appeal is.&lt;/p&gt;<br /> &lt;p&gt;The movie revolves around Leonard Kraditor (Phoenix), a suicidal case of a depressed man who was left by his fiancée and has now moved back in with his parents. He is working at the family dry cleaners and is the bane of his own existence. Enter the daughter of a soon to be business partner of his father's that puts a little smile on his face. Sandra (Vinessa Shaw) is a simple lovely women and falls for Leonard and they start dating with the approval of both families. Michelle (Paltrow), who lives in the same building, makes a grand entrance with much drama and problems. Leonard becomes infatuated with the sexy troubled party girl and sneaks around to spend time with her.&lt;/p&gt;<br /> &lt;p&gt;The storyline and events are almost inconsequential to this film - it is a true character study (exploration). When you meet someone interesting at a coffee shop does where you are, what you're eating or wearing matter? Of course not, it is the person, the conversation, their feelings and who they are that you are interested in. That is what this is; we explore and learn about the characters in great depth.&lt;/p&gt;<br /> &lt;p&gt;I felt Michelle could have been better cast. To me Paltrow is the sophisticated type and just didn't fit into the character perfectly - she still did a great job though. Shaw played her part to perfection. Joaquin didn't let down as usual. He is such a gifted actor and I hope to see him back on the screen soon. Some say this was his defining performance, maybe so for the genre, but I will always remember him as Johnny Cash in Walk the Line and Max California in 8MM.&lt;/p&gt;'
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short-body => 'Two Lovers (2008) is the last Joaquin Phoenix movie unless he decides to return from his music career. With a rather simple and predictable plot you may wonder what the appeal is. The movie revolves around Leonard Kraditor (Phoenix), a suicidal case of a depressed man who was left by his fiancée and has now moved back in with his parents. He is ...'
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__domel__body => '&lt;p&gt;Wendy and Lucy (2008) is an extraordinarily simple and captivating film starring Michelle Williams and Lucy the dog. The rhythmic music and sounds combined with exquisite composition and hypnotic acting make the film a piece of moving art. Although simple, the film and its message are intense.&lt;/p&gt;<br /> &lt;p&gt;Wendy (Michelle Williams) and Lucy allow us to peer into a part of their lives. We join her when she is walking and playing catch with Lucy in the woods. Lucy runs ahead to find an interesting group of people having a fire by the railroad tracks. Wendy seems apprehensive to walk up to them to retrieve her dog because they are a loud eccentric group of travelers that may not be so friendly. She finds Lucy with a young gothic girl that is very nice and chatty.&lt;/p&gt;<br /> &lt;p&gt;Later that night Wendy is in her car counting what little money she has to get to Alaska for a possible new life. Lucy is fast asleep in the back seat as Wendy curls up under her thin blue blanket. She is abruptly woken up the following morning by a security guard saying she must get out of the parking lot she is in. With her car not starting and the security guard insisting she move now, she is beginning to look panicked.&lt;/p&gt;<br /> &lt;p&gt;Problems begin compounding for Wendy. She is out of dog food, has a dead car, and no money in a far away town with no one to help. She continues to meet new people and get into and out of dire situations. Scared and alone, you begin to wonder what else could go wrong and does she have it in her to keep moving forward.&lt;/p&gt;<br /> &lt;p&gt;I applaud Kelly Reichardt (director/writer) for her vision and individualism when making this impeccable film. Michelle Williams truly became Wendy; her body language, expressions, and eyes conveyed absolute realism.&lt;/p&gt;'
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short-body => 'Wendy and Lucy (2008) is an extraordinarily simple and captivating film starring Michelle Williams and Lucy the dog. The rhythmic music and sounds combined with exquisite composition and hypnotic acting make the film a piece of moving art. Although simple, the film and its message are intense. Wendy (Michelle Williams) and Lucy allow us to peer ...'
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__domel__body => '&lt;p&gt;Tyson (2008) is a very revealing and telling history of Mike Tyson's life told by Tyson himself. He talks through his childhood up to current day in a very open and candid manner.&lt;/p&gt;<br /> &lt;p&gt;The filmmaker (James Toback) did a perfect job of letting him tell his story without coaxing or slanting the film to any side; it is simply Mike's story. Most of the film is of him sitting on the couch or outside his home describing his life from his perspective. It is intertwined with some really great fight footage along with film and photographs from Tyson's younger days.&lt;/p&gt;<br /> &lt;p&gt;I have a new respect for him as a boxer after watching this. I was much too young to understand his accomplishments when he was in his prime. He didn't do anything to alleviate my opinion of him personally from his later years, even making me like him less. Even still, I am glad to have a record of who he really is. The film will give you new insight (good and bad) into his mind and life.&lt;/p&gt;<br /> &lt;p&gt;8 out of 10 - Rated R - A no frills history of Mike Tyson; albeit remarkably insightful and captivating. Everyone should see this for the boxing history and to learn more about the life of a very intriguing man.&lt;/p&gt;'
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short-body => 'Tyson (2008) is a very revealing and telling history of Mike Tyson's life told by Tyson himself. He talks through his childhood up to current day in a very open and candid manner. The filmmaker (James Toback) did a perfect job of letting him tell his story without coaxing or slanting the film to any side; it is simply Mike's story. Most of the ...'
teaser => 'A very revealing and telling history.'
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__domel__body => '&lt;p&gt;Mrs. Whittaker (Kristin Scott Thomas) has a first name, but it's almost never spoken, since she is a prim and proper member of the British aristocracy. Her husband, Mr. Whittaker (a grizzled looking Colin Firth), survived the Great War but mentally checked out afterwards. Together the two of them and their two grown daughters, Hilda (Kimberley Nixon) and Marion (Katherine Parkinson), live in a large mansion only slightly smaller than a royal palace.&lt;/p&gt;<br /> &lt;p&gt;But the apparently wealthy Whittakers have had to economize some lately, letting go of six of the servants and heating only half of their sprawling house. One day, their comfortable existence is disturbed by the arrival of their own son, John (Ben Barnes), who has scandalously married Larita (Jessica Biel), a bleached blonde race car driver. Older than John, Larita is a widow whose last husband died of cancer. She is also an American, which makes her immediately suspected of not having the proper breeding.&lt;/p&gt;<br /> &lt;p&gt;EASY VIRTUE is a mild comedy of manners set in the Roaring Twenties. You might think any comedy filled with flappers would be easy to make funny, but this one isn't. It is a comedy which deserves no laughs and few smiles. The film is by director Stephan Elliott, whose last movie was EYE OF THE BEHOLDER, a truly awful would-be thriller from 1999, starring Ewan McGregor and Ashley Judd. EASY VIRTUE, however, is never painfully bad. It's just consistently bland. You probably won't hate it. You'll more likely just be indifferent to it.&lt;/p&gt;<br /> &lt;p&gt;The retreaded dialog offers little for the viewers. About as good as it ever gets comes in an exchange between Marion and her father when they first lay eyes on Larita, as she and John drive up to the family estate for the first time. &amp;quot;I don't feel like smiling,&amp;quot; Marion tells her father. He quickly admonishes her, &amp;quot;You're English. Fake it.&amp;quot;&lt;/p&gt;<br /> &lt;p&gt;There is one and only one satisfying part of the production. The songs are uniformly sublime with, &amp;quot;You Do Something To Me&amp;quot; being a typically lovely one. Buy the sound track. Skip the movie.&lt;/p&gt;<br /> &lt;p&gt;EASY VIRTUE runs 1:33. It is rated PG-13 for &quot;sexual content, brief partial nudity, and smoking throughout&quot; and would be acceptable for kids around 10 and up.&lt;/p&gt;'
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short-body => 'Mrs. Whittaker (Kristin Scott Thomas) has a first name, but it's almost never spoken, since she is a prim and proper member of the British aristocracy. Her husband, Mr. Whittaker (a grizzled looking Colin Firth), survived the Great War but mentally checked out afterwards. Together the two of them and their two grown daughters, Hilda (Kimberley ...'
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__domel__body => '&lt;p&gt;&amp;quot;You decided you wanted her dead,&amp;quot; Price (Tom Sizemore), an aging hit man, tells his new client, &amp;quot;that means she's already dead. She just doesn't know it yet.&amp;quot; And a few days later, when Sarah (Sasha Alexander) hasn't been murdered yet, Price has to reassure his restless client that hiring him means the act is certain -- repeating a variation on his personal corporate motto -- &amp;quot;She's already dead, just hasn't had the obit yet.&amp;quot;&lt;/p&gt;<br /> &lt;p&gt;THE LAST LULLABY is brilliantly directed by Jeffrey Goodman, who was at our screening for a Q&amp;amp;A afterwards. He said that when he first spoke to Sizemore about the role, Sizemore said &amp;quot;I am Price.&amp;quot; Whether that is right or not, his very believable acting in THE LAST LULLABY argues that the actor's assessment is correct. In fact, Goodman said that if someone told him that in real life Sizemore had killed someone, he'd sure believe it.&lt;/p&gt;<br /> &lt;p&gt;In a consistently captivating performance, Sizemore plays a taciturn contract killer who thinks he has retired from the job. A beefy, middle-age guy, Price hasn't forgotten any of his skills and likes nothing better than dealing with the young bucks who try to get in his way. But it isn't only Sizemore whose acting is performed with dead-on accuracy. The entire cast works at what appears to be the top of their form.&lt;/p&gt;<br /> &lt;p&gt;As the movie opens, we observe Price as he stumbles onto a job. Realizing that a kidnapping is in progress of a woman named Jules (Sprague Grayden from &amp;quot;Jericho&amp;quot;), he decides to help her out -- but not quite in the way you might imagine. He saves her from her second-rate kidnappers, who would probably kill her and take the ransom too. Price decides to kidnap her himself and kill her current crop of incompetent kidnappers.&lt;/p&gt;<br /> &lt;p&gt;The director shows a real gift for figuring out how to stage dramatic and effective gun fights, of which there are several in the film, without letting the movie dissolve into a typical action thriller. More a drama than a thriller, the movie's best part is its carefully constructed sound design. The director told us that his picture was a revolt against movies today, which, while trying to reflect our society, just keep getting louder and faster. He slows the scenes down and minimizes the use of music and most background noise, so that the characters take the forefront.&lt;/p&gt;<br /> &lt;p&gt;Calling his style &amp;quot;naturalistic,&amp;quot; the director clearly wanted us to pay more attention to the nuances of the characters. It really works. There are some good twists and turns in the plot and an excellent story as well, but it is the human emotions and motivations that will stay with you long after you leave the theater. &lt;/p&gt;<br /> &lt;p&gt;If more movies were as well designed and realized as THE LAST LULLABY, going to the theater would be dramatically more satisfying. New filmmakers should look at it as a paradigm on how movies should be made.&lt;/p&gt;<br /> &lt;p&gt;THE LAST LULLABY runs 1:33. It is rated R for &quot;violence and language&quot; and would be acceptable for teenagers.&lt;/p&gt;'
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short-body => '"You decided you wanted her dead," Price (Tom Sizemore), an aging hit man, tells his new client, "that means she's already dead. She just doesn't know it yet." And a few days later, when Sarah (Sasha Alexander) hasn't been murdered yet, Price has to reassure his restless client that hiring him means the act is certain -- repeating a variation on ...'
teaser => 'Brilliantly directed.'
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__domel__body => '&lt;p&gt;Writer and director Atom Egoyan is a cinematic master at creating incredibly sad and affecting tone poems to life's morose moments. He has never created anything as brilliant as his forever memorable THE SWEET HEREAFTER, a mesmerizing examination of the tragic results of a bus crash on the inhabitants of a small town.&lt;/p&gt;<br /> &lt;p&gt;Egoyan's latest story is a minimalist tale told beautifully but sure to put some to sleep with its deliberately dreamy pacing and hauntingly beautiful violin music, played by the lead character's mother.&lt;/p&gt;<br /> &lt;p&gt;Simple on a surface level but complex in its full meaning and import, the plot concerns a translation assignment given by Sabine (Arsinee Khanjian). Sabine, who teaches both high school French and drama, reads her French class the story of a thwarted bombing attempt. This newspaper article in French from many years ago concerns a pregnant woman who was conned by her fiancé into attempting to bring a bomb aboard an Israeli airline. The class's assignment is to translate the story into English, as she reads it to the class.&lt;/p&gt;<br /> &lt;p&gt;The big surprise comes when Simon (Devon Bostick), one of the teacher's students, says in shock and horror that the story is actually about his parents. In a movie in which nothing is quite what it seems -- or is it? -- the boy's intentions aren't at all obvious.&lt;/p&gt;<br /> &lt;p&gt;The teacher invites Simon to tell his story to the class. As he weaves his fantastical tale of woe, he appears to be presenting fiction as fact, but maybe he isn't. Maybe his story is true. Or maybe he is embellishing truth into fiction masquerading as fact. One's head starts to spin imagining the possibilities.&lt;/p&gt;<br /> &lt;p&gt;At any rate, his story goes viral on the Internet with people in several multi-person video chat rooms arguing about what his father did. As the student and the teacher lose control of the events, it appears that she could be fired.&lt;/p&gt;<br /> &lt;p&gt;Actually, the details of the story become increasingly irrelevant. ADORATION is best savored by suspending all disbelief and just immersing oneself into its great sense of mood. It is a movie more to be experienced than analyzed.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;ADORATION runs 1:52. It is rated R for &quot;sexuality and some language&quot; and would be acceptable for teenagers.&lt;/p&gt;'
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short-body => 'Writer and director Atom Egoyan is a cinematic master at creating incredibly sad and affecting tone poems to life's morose moments. He has never created anything as brilliant as his forever memorable THE SWEET HEREAFTER, a mesmerizing examination of the tragic results of a bus crash on the inhabitants of a small town. Egoyan's latest story is a ...'
teaser => 'A minimalist tale told beautifully.'
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__domel__body => '&lt;p&gt;&amp;quot;The poorest of places are where you'll find the diamond in the rough,&amp;quot; the narrator tells us in RUDO Y CURSI. The film reunites Y TU MAMA TAMBIEN's two stars, Diego Luna and Gael Garcia Bernal, who play brothers Beto and Tato. While there's nothing wrong with their latest collaboration, it never reaches the level of the consistently entertaining Y TU MAMA TAMBIEN.&lt;/p&gt;<br /> &lt;p&gt;RUDO Y CURSI is best in its opening section, which is set in a poor but happy village in Mexico near a banana plantation. The evocative sets, as well as the sound of birds and domestic animals, perfectly capture the feeling of life there.&lt;/p&gt;<br /> &lt;p&gt;But we soon leave village life and head for the hustle and bustle of noisy Mexico City, where the sounds we hear are of belching automobiles rather than melodious animals. Some of the people there prove to act like animals too, but I'm getting ahead of myself.&lt;/p&gt;<br /> &lt;p&gt;One day a sports agent in a flashy, red Corvette convertible has a flat tire outside of the little hamlet where Beto and Tato live. This rags-to-riches (and maybe back again) story gets into gear when the agent watches Beto, as a goalie, and Tato, as a kicker, in a local soccer game. This very gregarious and likable agent starts spinning a tale of riches to be made in the world of pro soccer for the two brothers. (The film's title comes from the brothers' nicknames of Rudo for Beto and Cursi for Tato.)&lt;/p&gt;<br /> &lt;p&gt;Before the brothers know it, they are whisked off to Mexico City to join different teams. As long as their playing improves, the wealth that they've never before known keeps coming their way. But, this being Mexico, everyone demands their cut of the action. From the agent to the coach, everyone has their hand out, so, while the riches keep coming to the brothers, the money appears to be flowing out even faster than it's coming in.&lt;/p&gt;<br /> &lt;p&gt;Since they play for different teams, you can probably guess where and under what circumstances the ending will occur. Once the plot is set up, everything is fairly predictable after that. This isn't as much of a problem as is the story's inability to be particularly successful as either a comedy or a tragedy. We like the brothers. We feel kind of sorry for them. But, on the whole, the movie just doesn't produce very strong reactions one way or the other. &lt;/p&gt;<br /> &lt;p&gt;While it's never a bad movie, it is never a memorable one either. It's one of those comedies that produces no laughs, at least not from me. I loved Y TU MAMA TAMBIEN, but I found RUDO Y CURSI merely okay. Finally, although I am not a soccer fan, I should point out that, if you go just to see the soccer, you'll be really disappointed, since there is remarkably little soccer shown in the movie. The camera is frequently more interested in the reaction from the stands than what is happening on the field.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;RUDO Y CURSI runs 1:41. The film is in Spanish with English subtitles. It is rated R for &quot;pervasive language, sexual content and brief drug use&quot; and would be acceptable for teenagers.&lt;/p&gt;'
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short-body => '"The poorest of places are where you'll find the diamond in the rough," the narrator tells us in RUDO Y CURSI. The film reunites Y TU MAMA TAMBIEN's two stars, Diego Luna and Gael Garcia Bernal, who play brothers Beto and Tato. While there's nothing wrong with their latest collaboration, it never reaches the level of the consistently entertaining ...'
teaser => 'While it's never a bad movie, it is never a memorable one either.'
title => 'Rudo Y Cursi'
type-id => 6
7 =>
__attr__id => 182
__domel__body => '&lt;p&gt;EVERY LITTLE STEP, by directors Adam Del Deo and James D. Stern, is a documentary that follows people auditioning for a musical about people auditioning for a musical. So does the mere description of this documentary about people auditioning to get parts of the Broadway revival of &amp;quot;A Chorus Line&amp;quot; have your heading spinning?&lt;/p&gt;<br /> &lt;p&gt;Well, don't worry. EVERY LITTLE STEP won't leave your head spinning for long, since it's a thoroughly enjoyable and entertaining film that will captivate your head and your heart, especially the latter. &lt;/p&gt;<br /> &lt;p&gt;The film works marvelously well on two separate levels. In addition to the obvious part of following the dancers through their trials and tribulations, their joys and their heartbreaks, the movie is riveting in the background material it provides about how &amp;quot;A Chorus Line&amp;quot; was first conceived and developed. Think of EVERY LITTLE STEP as &amp;quot;So You Think You Can Dance?&amp;quot; as The History Channel might produce it. And, speaking of &amp;quot;So You Think You Can Dance?&amp;quot;, Tyce DiOrio from that dance competition show -- where he was first a contestant and is now a choreographer -- is one of the dancers who is seen auditioning in EVERY LITTLE STEP.&lt;/p&gt;<br /> &lt;p&gt;&amp;quot;A Chorus Line&amp;quot; was originally conceived in 1974 by choreographer Michael Bennett when he got a group of dancers together to talk about their lives and dreams. He made a long series of audio tapes of these discussions, and, from these tapes, he came up with the musical about auditioning for a musical. As we watch an old reel-to-reel tape player spin, we get to hear selections from the original tapes. The editor, thankfully, knows just how much of this to use, since watching a tape whirl can be deadly dull if overdone, which it never is in EVERY LITTLE STEP.&lt;/p&gt;<br /> &lt;p&gt;While the background story about the original concept of &amp;quot;A Chorus Line&amp;quot; is consistently fascinating, as is the old, poor quality film footage of the original production, it isn't the best part of EVERY LITTLE STEP. What really makes the film come alive are the auditions, as we observe three thousand dancers answer an open call for a 2006 Broadway revival of the famous musical.&lt;/p&gt;<br /> &lt;p&gt;If you've ever tried out for a part or interviewed for any job you wanted really, really bad, then EVERY LITTLE STEP will speak to you directly. As the number of people competing for each role gets reduced, you'll soon feel like every dancer has become your best friend, and you'll be rooting for them all to get the part, even though, logically, you know that many will still have to be cut. By the &amp;quot;final, final call back,&amp;quot; you'll be on pins and needles worrying about who among your newfound friends will have to go. &lt;/p&gt;<br /> &lt;p&gt;But, as sorry as you'll be when people aren't picked, you be overjoyed with those who are. Don't be surprised if you, too, shed a tear or two along with the dancers when they are picked for the role of a lifetime. It's that kind of film. It really gets to you, in a good way.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;EVERY LITTLE STEP runs 1:36. It is rated PG-13 for &quot;some strong language including sexual references&quot; and would be acceptable for kids around 9 and up.&lt;/p&gt;'
alias => 'every_little_step'
dt-publish => '8 years ago'
genre =>
__attr__id => 3
name => 'Documentary'
logo => 'logo.jpg'
movie =>
__attr__id => 143
cover => 'cover.jpg'
title => 'Every Little Step'
rating => 100
reviewer =>
__attr__id => 193
avatar => 'default.jpg'
login => 'SteveRhodes'
review-count => 676
user-dir => 'user_files/'
short-body => 'EVERY LITTLE STEP, by directors Adam Del Deo and James D. Stern, is a documentary that follows people auditioning for a musical about people auditioning for a musical. So does the mere description of this documentary about people auditioning to get parts of the Broadway revival of "A Chorus Line" have your heading spinning? Well, don't worry. ...'
teaser => 'Thoroughly enjoyable and entertaining.'
title => 'Every Little Step'
type-id => 6
8 =>
__attr__id => 181
__domel__body => '&lt;p&gt;Always beautiful but rarely compelling, PARIS 36 (FAUBOURG 36) is the second feature film by director Christophe Barratier. His first picture, THE CHORUS (LES CHORISTES), which was basically a subtitled MR. HOLLAND'S OPUS, was a huge hit in its native France and was nominated for two Academy Awards (Best Foreign Language Film and Best Original Song.) Although his latest movie has a different story line, his approach is very similar, but I found THE CHORUS to be much more appealing.&lt;/p&gt;<br /> &lt;p&gt;Set in 1936, PARIS 36 follows the fall and rise and fall and rise of a music hall. The film can't really be considered a musical, since, until the end, we only hear songs in small snippets. The narrative is much more concerned with the backstage machinations of the music hall than the music itself.&lt;/p&gt;<br /> &lt;p&gt;Gerard Jugnot plays Pigoil, the manager of the music hall. One of the story's main subplots concerns the fight between the French communists and fascists, with the communists being shown as the heroes of the average workers and the fascists as mindless idiots. Pigoil, on the other hand, eschews politics, only wanting a chance for a &amp;quot;steady job.&amp;quot;&lt;/p&gt;<br /> &lt;p&gt;Maxence Perrin plays Jojo, Pigoil's accordion playing son. Forced to leave the father he loves, Jojo has to live with his mother, Viviane (Elisabeth Vitali), who left Pigoil for another man. The film is overstuffed with way too many characters and subplots.&lt;/p&gt;<br /> &lt;p&gt;Tom Stern's cinematography is consistently stunning. It's hard to pick a favorite visual, but the Parisian streets at night in the snow would be a definite contender for the movie's most magical moment.&lt;/p&gt;<br /> &lt;p&gt;The story's key character turns out to be Douce (Nora Arnezeder), a lovely young lass who auditions to be the music hall's announcer. Since she possesses a voice of bird-like beauty, she is soon promoted from announcer to star and becomes a singing sensation.&lt;/p&gt;<br /> &lt;p&gt;Way too frantic, the movie plays like a bunch of vaudevillian actors trying to play to the cheap seats by exaggerating every gesture. I love looking at it, but found everything else about the movie, from the overstuffed story to the truncated songs, to be disappointing. I could also have done without the pro-communist nostalgia.&lt;/p&gt;<br /> &lt;p&gt;&lt;/p&gt;<br /> &lt;p&gt;PARIS 36 runs too long at 2:00. The film is in French with English subtitles. It is rated PG-13 for &quot;some sexuality and nudity, violence and brief language&quot; and would be acceptable for kids around 10 and up.&lt;/p&gt;'
alias => 'paris_36'
dt-publish => '8 years ago'
genre =>
__attr__id => 6
name => 'Music'
logo => 'logo.jpg'
movie =>
__attr__id => 142
cover => 'cover.jpg'
title => 'Paris 36'
rating => 60
reviewer =>
__attr__id => 193
avatar => 'default.jpg'
login => 'SteveRhodes'
review-count => 676
user-dir => 'user_files/'
short-body => 'Always beautiful but rarely compelling, PARIS 36 (FAUBOURG 36) is the second feature film by director Christophe Barratier. His first picture, THE CHORUS (LES CHORISTES), which was basically a subtitled MR. HOLLAND'S OPUS, was a huge hit in its native France and was nominated for two Academy Awards (Best Foreign Language Film and Best Original Song...'
teaser => 'Beautiful but rarely compelling.'
title => 'Paris 36'
type-id => 6
9 =>
__attr__id => 171
__domel__body => '&lt;p&gt;“She took a giant shit on my face.”&lt;/p&gt;<br /> &lt;p&gt;Ah, we can all relate to that one. Not literally, of course, unless there happen to be some German scheisse video performers in the audience. This is a sentiment expressed by young Tom Hanssen after he breaks up with the maddening girl of his dreams. He serves as our surrogate in one of the funniest, most cathartic movies about unrequited love I’ve ever seen.&lt;/p&gt;<br /> &lt;p&gt;Tom (Joseph Gordon-Levitt, the best actor of my generation) works as a writer of greeting cards. The idiosyncratic new girl in the office is Summer (Zooey Deschanel). Tom is immediately smitten with her in a memorable scene where Summer recognizes the song he’s listening to on his iPod (it’s “There Is a Light that Will Never Go Out” by The Smiths). The film skips around back and forth between the 500 days they spend together, as Tom insists Summer is the one, and Summer insists they’re just friends, albeit with some very nice benefits.&lt;/p&gt;<br /> &lt;p&gt;Music video director Marc Webb and his writers, Scott Neustadter and Michael H. Weber, set up the perfect comic tone with a disclaimer that will have audiences laughing in the first 10 seconds. There are a few slip-ups along the way – contrary to 500 Days of Summer’s place on the IMDb Top 250, this is not a perfect film. The narration is distracting, and the early scenes of Tom and Summer as kids borrow too heavily from the Wes Anderson playbook. (Nice reference to The Boy with the Arab Strap by Belle &amp;amp; Sebastian, though.) The rest of the film finds its own, wonderful voice, complete with musical interludes and some terrifically chosen location shooting in Los Angeles.&lt;/p&gt;<br /> &lt;p&gt;Gordon-Levitt and Deschanel are both amazing and I hope they work together again; a two-shot of them smiling at each other could just about set the world on fire. As much as people love to fawn over Deschanel, I found her character slightly underwritten, and was more taken with Gordon-Levitt’s performance. As Summer slips further from his grasp, and Tom tries-tries-tries to understand, Gordon-Levitt creates a completely open-hearted and loveable human being. By the end you’ll want to sit down with this guy, put your arm around him, and have a good cry.&lt;/p&gt;'
alias => '500_days_of_summer_by_miamimoviecritic'
dt-publish => '8 years ago'
genre =>
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name => 'Comedy'
logo => 'logo.jpg'
movie =>
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cover => 'cover.jpg'
title => '500 Days of Summer'
rating => 80
reviewer =>
__attr__id => 84
avatar => 'MiamiMovieCritic.jpg'
login => 'MiamiMovieCritic'
review-count => 210
user-dir => 'user_files/'
short-body => '“She took a giant shit on my face.” Ah, we can all relate to that one. Not literally, of course, unless there happen to be some German scheisse video performers in the audience. This is a sentiment expressed by young Tom Hanssen after he breaks up with the maddening girl of his dreams. He serves as our surrogate in one of the funniest, most ...'
teaser => 'Finds its own, wonderful voice.'
title => '500 Days of Summer'
type-id => 6
rss-link => 'reviews/dvd/?'
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videoFiles => 'http://i.filmnet.com/video_files/'

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/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Cache/Core.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Config.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Action.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Action/Helper/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Action/Helper/FlashMessenger.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Action/Helper/ViewRenderer.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Action/HelperBroker.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Action/HelperBroker/PriorityStack.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Action/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Dispatcher/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Dispatcher/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Dispatcher/Standard.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Exception.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Front.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Plugin/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Plugin/Broker.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Plugin/ErrorHandler.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Request/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Request/Http.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Response/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Response/Http.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Router/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Router/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Router/Rewrite.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Router/Route.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Router/Route/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Router/Route/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Router/Route/Module.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Controller/Router/Route/Regex.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Db.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Db/Adapter/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Db/Adapter/Pdo/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Db/Adapter/Pdo/Mysql.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Db/Expr.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Db/Profiler.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Db/Profiler/Query.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Db/Select.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Db/Statement.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Db/Statement/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Db/Statement/Pdo.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Db/Table/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Exception.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Filter.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Filter/Inflector.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Filter/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Filter/PregReplace.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Filter/StringToLower.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Filter/Word/CamelCaseToDash.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Filter/Word/CamelCaseToSeparator.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Filter/Word/Separator/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Filter/Word/SeparatorToSeparator.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Filter/Word/UnderscoreToSeparator.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Form.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Json.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Json/Expr.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Loader.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Loader/Autoloader.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Loader/PluginLoader.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Loader/PluginLoader/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Locale.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Locale/Data/Translation.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Log.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Log/Filter/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Log/Filter/Priority.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Log/Formatter/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Log/Formatter/Simple.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Log/Writer/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Log/Writer/Stream.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Paginator.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Paginator/Adapter/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Paginator/ScrollingStyle/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Paginator/ScrollingStyle/Jumping.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Registry.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Session.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Session/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Session/Exception.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Session/Namespace.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Session/SaveHandler/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Translate.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Translate/Adapter.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Translate/Adapter/Gettext.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Uri.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Validate/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/Version.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/View.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/View/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/View/Helper/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/View/Helper/HeadMeta.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/View/Helper/HeadTitle.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/View/Helper/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/View/Helper/Placeholder/Container.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/View/Helper/Placeholder/Container/Abstract.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/View/Helper/Placeholder/Container/Standalone.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/View/Helper/Placeholder/Registry.php
/mnt/fs.9/disk1/local/www/filmnet/library/Zend/View/Interface.php

ZFDebug Library Files

/mnt/fs.9/disk1/local/www/filmnet/library/ZFDebug/Controller/Plugin/Debug.php
/mnt/fs.9/disk1/local/www/filmnet/library/ZFDebug/Controller/Plugin/Debug/Plugin.php
/mnt/fs.9/disk1/local/www/filmnet/library/ZFDebug/Controller/Plugin/Debug/Plugin/Database.php
/mnt/fs.9/disk1/local/www/filmnet/library/ZFDebug/Controller/Plugin/Debug/Plugin/Exception.php
/mnt/fs.9/disk1/local/www/filmnet/library/ZFDebug/Controller/Plugin/Debug/Plugin/File.php
/mnt/fs.9/disk1/local/www/filmnet/library/ZFDebug/Controller/Plugin/Debug/Plugin/Html.php
/mnt/fs.9/disk1/local/www/filmnet/library/ZFDebug/Controller/Plugin/Debug/Plugin/Interface.php
/mnt/fs.9/disk1/local/www/filmnet/library/ZFDebug/Controller/Plugin/Debug/Plugin/Memory.php
/mnt/fs.9/disk1/local/www/filmnet/library/ZFDebug/Controller/Plugin/Debug/Plugin/Registry.php
/mnt/fs.9/disk1/local/www/filmnet/library/ZFDebug/Controller/Plugin/Debug/Plugin/Text.php
/mnt/fs.9/disk1/local/www/filmnet/library/ZFDebug/Controller/Plugin/Debug/Plugin/Time.php
/mnt/fs.9/disk1/local/www/filmnet/library/ZFDebug/Controller/Plugin/Debug/Plugin/Variables.php

Memory Usage

Controller: 10148.02K

Custom Timers

Controller: 1980.38 ms

Overall Timers

reviews
reviews
list
Avg: 2400.64 ms / 1 requests
Min: 2400.64 ms
Max: 2400.64 ms

Reset timers by sending ZFDEBUG_RESET as a GET/POST parameter

Registered Instances

Zend_View_Helper_Placeholder_Registry => Zend_View_Helper_Placeholder_Registry Object()
acl => Zend_Acl Object()
baseDir => 'http://www.filmnet.com/'
cache => Zend_Cache_Core Object()
config => Zend_Config Object()
db => Zend_Db_Adapter_Pdo_Mysql Object()
translator => Zend_Translate Object()
copyright 1.8.0/5.2.10-2ubuntu6variables Variableshtml HTMLdatabase 44 in 1500.71 msfile 146 Filesmemory 20143K of 1024Mtime 2400.64 msregistry Registry (7)«