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Movie Reviews

  • Indiewire
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    Updated indieWIRE Top 10s: "Swan" & "Last Train Home" Take Lead Narrative & Doc

    While "The Social Network" by David Fincher took the top spot in indieWIRE's recent 2010 Critics Poll from 125 ballots compiled by mostly, well, critics; this much smaller grouping of indieWIRE editors, contributors, freelancers as well as a smattering of industry friends, picked Darren Aronofsky's ...

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    REVIEW | Oliveira's Romantic Oddity: "The Strange Case of Angelica"

    Portuguese director Manoel de Oliveira has generated plenty of press simply because of his age—at 102, he is recognized as the oldest working filmmaker alive today—but his latest works appear to exist outside of time. "The Strange Case of Angelica," the Portuguese director's latest feature, falls in step with other recent outings like "Christopher Columbus, the Enigma" and "Eccentricities of a Blonde Girl" by drawing attention to its abnormalities in every scene. The story of a young photographer romantically drawn to the snapshot of a dead woman, "Angelica" features an extraordinarily patient exposition familiar from his other projects but d...

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    Eric Kohn: The "Biutiful" Conspiracy

    No amount of profound sadness registering across Javier Bardem's dejected face can save "Biutiful" from its numerous flaws. Seven months after first encountering Alejandro Gonzalez Iñárritu's lethargic melodrama at the Cannes Film Festival, I remain convinced of ...

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    Small Screen | Clooney, Oprah, "Handsome Harry," 50 Cent all Rush to the Tube

    Taking in the Small Screen this week, a trip to Europe with a gun-slinging George Clooney, Oprah Winfrey's new cable network, an Australian outback love story, a rehashing of Vietnam, and Joel Schumacher's Upper West Side mess are this week's top picks on indieWIRE's column looking at entertainment ...

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    REVIEW | Cinema of Attraction: Derek Cianfrance's "Blue Valentine"

    Light on plot and heavy on expression, Derek Cianfrance's "Blue Valentine" is a study in extremes. Essentially the anatomy of a break-up, it places exclusive focus on a young couple (Ryan Gosling and Michelle Williams) as their marriage disintegrates. Cianfrance, whose directorial debut "Brother Tie...

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    REVIEW | No Country for Old Men: Mike Leigh's "Another Year"

    Stories of aging, loneliness and despair typically don't translate into crowdpleasers, but there's nothing typical about a Mike Leigh movie. With "Another Year," a skillfully understated character study from the master of subtext, Leigh magnifies the existential reflections of his middle-aged subjec...

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    REVIEW | Korean Conflict: "The Red Chapel"

    In 2006, Danish journalist and filmmaker Mads Brügger journeyed to North Korea with two performers, Simon Jul and Jacob Nossell, to reveal the corruption of the country's censorship up close. The ruse was an elaborate combination of documentary exposé, performance art and advocacy: Jul, a noted Danish actor, and Nossell, a "spastic" stand-up comic whose speech impairments make his words difficult to decipher in any language, would perform a play for Korean locals approved by the government. Through covert messages, they would reveal a dangerous culture of repression. The result, assembled into the feature-length documentary "The Red Chapel," ...

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  • Leonard Maltin
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    film review—THE ILLUSIONIST

    I have nothing but admiration for Sylvain Chomet’s The Illusionist, a heartfelt homage to the great filmmaker and comedic artist Jacques Tati, based on one of his unproduced screenplays. But I wanted to love the film wholeheartedly, and I didn’t.

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    REVIEW | Road To Nowhere: Peter Weir's "The Way Back'

    In "The Way Back," several prisoners escape from a Siberian prison in 1940 and wander aimlessly through the wilderness until they reach India. This improbable feat, loosely based on real experiences, provides director Peter Weir with a way to start and end his story while dwelling in the murky space...

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  • Leonard Maltin
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    film review: SOMEWHERE

    I count Sofia Coppola’s Lost in Translation as one of my favorite films of the decade, and I have great respect for her other pictures—except for the one at hand. Somewhere, which somehow won the Golden Lion at this year’s Venice Film Festival, strikes me as a non-movie, an utte...

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