The annals of filmmaking are filled with stories of people who managed to make movies against all odds, without money, without shooting permits, without proper professional equipment. This Is Not a Film, the 75-minute film directed by Iranian filmmaker Jafar Panahi and Mojtaba Mirtahmasb that made its debut at Cannes last spring and is now, thankfully, arriving in theaters Stateside, may be the ultimate achievement in stealth filmmaking, considering that Panahi is currently serving a six-year jail sentence and has been banned by the Iranian government from making films for 20 years. And yet somehow he has made a movie that found its way first to one of the world's major film festivals, and now to other parts of the world: This Is Not a Film is a small but extremely significant message in a bottle. That metaphor is almost literal: The picture made its way to Cannes via a USB drive -- which was smuggled in a cake.
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In the vigilante fantasy Gone, Amanda Seyfried plays Jill, a young Portland woman who can’t shake the memory of her abduction a year ago. She managed to slip through the guy’s clutches – he’d been holding her at the bottom of a deep pit in a sprawling local park – but the local cops, after finding no evidence of said hole (it’s a very big park), decided she made the whole thing up. Then one night Jill’s sister (Emily Wickersham) goes missing in a similar fashion: When Jill goes to the cops for help, they eye her warily, all except newbie detective Wes Bentley, who purrs at her creepily, in a red-herring sort of way.
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Tyler Perry doesn't don drag or delve into religion in his latest, Good Deeds — the film isn't part of the prolific entertainment giant's Madea franchise (next stop Madea's Witness Protection, slated for later in 2012), but rather of his less broad line of feel-good dramedies like Daddy's Little Girls and Why Did I Get Married? But despite the restrained tone, it's no less savvy an entertainment, one that Perry wrote, directed and stars in as San Francisco businessman Wesley Deeds, the wealthy, perfect son of a good family, head of the company his father created. Wesley's life changes when he meets Lindsey (Thandie Newton), a beleaguered single mom who works as the night janitor in his office building.
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Maybe you’re the kind of person who wakes up in the morning and says, “What can I learn today about the psychological effects of blood feuds in contemporary Albania?” But I doubt it. Who even thinks about these things, or cares about them? The strange miracle of Joshua Marston’s modest, well-constructed drama The Forgiveness of Blood — which really is about blood feuds in contemporary Albania — is that once you’ve watched it, you might find that you actually do care. It’s the kind of movie that makes the world feel like a smaller place, suggesting that the similarities connecting us across continents and cultures are more resonant than the things that divide us.
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Well, it finally happened. The line separating America from America: The Movie found a way to arrange itself into a stick figure and walk off the scene in disgust. In Act of Valor, an elaborate branding exercise for the U.S. Navy SEALs in the form of a Hollywood action blowout, the two mingle freely and openly at last.
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The title of David Wain's latest directorial effort suggests more direction than its urbanite couple George (Paul Rudd) and Linda (Jennifer Aniston) really have. "Wanderlust" indicates feeling an urge to seek out new pastures, but when the pair end up on the road it's only because they've been forced there, unemployment sending them plummeting out of their Manhattan lifestyle like satellites knocked from their orbits. George works in an office and Linda has so far just bounced from whim to whim -- her most recent unsuccessful venture is a documentary about penguins with cancer -- and the two have scraped together the cash to buy what their real-estate agent euphemistically calls a "microloft" in the West Village. They can't sell the tiny apartment, and they can't afford to keep it when George loses his job and HBO turns down Linda's film for being depressing (and not sexy depressing), and so they end up slinking down to Atlanta in defeat to stay with George's bullying brother (Ken Marino) and stumbling across bed and breakfast/commune Elysium on the way.
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When you're not going to win on points, you may as well try to shoot the moon — that seems to be the thought process behind Ghost Rider: Spirit of Vengeance, the sequel to Marvel's 2007 Ghost Rider. Realizing that their stunt rider who turns into a flaming skeleton-monster character and their star who turns in what are less performances than performance art were unlikely to result in a film that could be thought of as good in any traditional sense, the studios have aimed instead to make something that embraces its own lunacy.
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The underdog candidate for this year's Oscar for Best Documentary Feature, Undefeated is, fittingly, about an underdog sports team, a group of kids from an underfunded urban school for whom football provides some desperately needed structure as well as a possible route to a better life. There's good reason the Weinstein Company reportedly coughed up seven figures for distribution and remake rights to the film -- Undefeated is Friday Night Lights meets The Blind Side in nonfiction form, examining issues of class and race through the lens of its ragtag athletics program while also reinforcing American mythos of bootstrapping, hard work and community. Its triumphs are bittersweet, but they're irresistible.
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If men are from Mars and women from Venus, This Means War drifts in cold, empty space somewhere between the two orbits, where, as the famous tagline goes, no one can hear you scream.
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Wispy but sweet as spun sugar, The Secret World of Arrietty feels like a modest but exquisitely trimmed Japanese gift to fans of The Borrowers, British author Mary Norton’s classic children’s books. Having originated in Japan’s Studio Ghibli, home to animated films like Princess Mononoke and Spirited Away, the American version of Arrietty is its third translation; when Disney signed on it added a second director in seasoned sound designer Gary Rydstrom (the Japanese version is directed by Ghibli animator Hiromasa Yonebayashi). And yet the look and feel are unmistakable, adding anime flavor to a story so beloved in the West that the BBC took a crack at it with a live-action version just last year.
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The re-release of The Phantom Menace opens with that exhilarating blast of John Williams's famous theme, the Star Wars title zooming off into the distance in 3-D before the familiar text crawl creeps across the starry backdrop, revealing the words we've all been longing to see back on the big screen:
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The last few months have provided us with some iconic imagery of police violence in response to the Occupy Wall Street movement -- Lt. John Pike casually pepper spraying a group of UC Davis students like he's Febrezing a sofa, 84-year-old Dorli Rainey being helped away from a confrontation in Seattle after being doused herself, Marine Scott Olsen getting carried out through a haze of tear gas in Oakland with a fractured skull. These recent events lend Oren Moverman's Rampart a queasy immediacy even though it's set in the '90s, as the LAPD's Rampart Division struggles through the notorious police misconduct scandal that ended up implicating dozens of officers and inspired the likes of Training Day and The Shield.
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In The Vow, Rachel McAdams plays Paige, a Chicago sculptor who's wife to Leo (Channing Tatum), the owner of a recording studio. The two are talking about starting a family, clearly giddily in love, when they get into a car accident that results in Paige taking a slow-motion header through the windshield. She sustains a brain injury that leaves her with amnesia, losing all memory of meeting and having a relationship with Leo. He finds himself having to convince the woman he married of the depth and strength of their connection when to her he might as well be a stranger.
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Safe House is a twisted claw of a movie, a picture so visually ugly that, to borrow a line from Moms Mabley, it hurt my feelings. Let’s forget, for a moment, about the sub-sub-sub-Training Day plot, in which a wily old-coot operative played by Denzel Washington simultaneously annoys and educates spring-chicken CIA agent Ryan Reynolds. The plot mechanics don’t matter much. What does matter is the inexplicable horror of how lousy this film looks. Movies aren’t strictly a visual medium -- they’re too complicated for that -- but there’s something wrong when the only thing you can think of while watching a picture is, “Damn! My eyes!”
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Based on a true story out of World War II-era Lvov, Poland (now Lviv, Ukraine), In Darkness seeks to distinguish itself from the painfully distended genre of Holocaust movies with relentless “you are there” realism. It’s not quite Smell-o-vision, but the idea seems to be to try and make the experience of the 12 Polish Jews who hid in a sewer for 14 months as uncomfortable for the audience as it was for them.
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