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Birth (2004)
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10 Most Romantic American Films ...
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"Is romance dead? David Carr seems to think so, at least in American cinema (both Hollywood and “Indiewood,” as he inclusively clarifies). While celebrating the subway station meet-cute from the beginning of Milk, a scene he claims to be of an increasingly rare sort, Carr states that American filmmakers “can do romantic pathology and entropy, but the kind of love for the ages, a big-movie kind of love? Not so much.” If you agree with him, blame the back-to-back Best Picture winners Titanic and Shakespeare in Love for feeding us the kind of romance that’s so cheesy it clogs our arteries and gives us a coronary. Left with a burst heart and a lack of quality Nora Ephron movies, most of us have been cynics when it comes to love stories these past ten years. Yet cynics can still be swept off their feet, and American filmmakers h "
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10 Movies Featuring Allegorical ...
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"If you took one look at the existence of the new movie Ghost Town and dismissed it on account of its familiarity, you’re ignoring the potential of one of the most valuable plot devices available to fiction. Sure, the employment of ghosts in a narrative may also be evidence of laziness, as the device is just as much a convenience as it is a useful tool for storytellers. Not everyone can be Shakespeare, and of course there is a lot of redundancy and (excuse the pun) lifelessness in the majority of movies involving ghosts. However, ghosts can also be highly representative and/or serve a film on a deeper level than the surface story. To use another pun, ghost movies are not always so transparent. Like zombies, their plot-device sibling, ghosts have a way of signifying greater ideas, subjects and themes, and aren’t always merely about scares and talking-to-thin-air gags. In a conversation with Cinematical’s Erik Davis, Ghost Town director/co-writer David Koepp had this to say about the ... "
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You Can't Go Home Again (Mother ...
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"In my capacity as a Spout Maven, I've reviewed a number of films distributed by Film Movement, including Mother of Mine, the movie under discussion here, A Peck on the Cheek, Be With Me, and Drifters. The promotional material included with the DVDs of these movies and the introductions on the disks themselves describe Film Movement as a film-of-the-month subscription club. Members receive award-winning foreign films in early release, by mail, "to keep," once a month. The films can later be found at Netflix, Blockbuster, or your local library. A nifty idea for some few film buffs, but every time that I hear about this club, I worry about its health and survivability. What kind of market can there be for a little club like this? How long can a company like Film Movement survive, if it relies upon a subscription base that is bound to be relatively small? Visiting the company's website, I saw that Film Movement now also acts as a film distributor, with theatrical, institutional, televi ... "
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Birth (2004, USA, Jonathon Glaz ...
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"Birth went down in flames at the box office when first released in 2004, and having seen the film, it's not surprising why. It's one of the most difficult and least commercial movies put out by a major studio in recent years. I certainly admire the movie's chilly tone and style, but somehow the movie doesn't queit add up to more than the some of its parts. It the sort of movie you watch, admire, and then totally forget about. In the film's prolouge, we see a man jogging, who suddenly collaspes and dies. Picking up ten years later, we see his widow, Anna (Nicole Kidman) visiting his grave on the day she decides to marry Joesph (Danny Huston), beleving that she has finally recovered from her husband's death. An unexpected problem arises the next day when a ten year old boy named Sean (Cameron Bright), arrives at a birthday party for Anna's mother (Lauren Bacall) and demands to speak to Anna in private. He then tells the startled widow that he is her husband (who was also named ... "
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