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Review: 'The Double' Is A Moth-Eaten Bag Of Cold War Clichés & Implausible Plot Twists

  • By Drew Taylor
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  • October 24, 2011 2:56 AM
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  • 2 Comments
There are few movies whose tone, intent, and general content can be easily discerned from the front chosen for the opening title cards. But by the end of the title cards for "The Double," a new spy thriller starring Richard Gere and Topher Grace, you know what kind of movie you're in for: the blocky font flicks by, as if being decoded by some unseen force.; it's such a hackneyed stylish tic for this kind of enterprise, used in everything from direct-to-video thrillers to episodes of "24," that it was effectively lampooned in the Coen Brothers' send up "Burn After Reading" as yet another goofy aspect of the genre (watch them below).

Review: Roland Emmerich's 'Anonymous' Still Manages To Destroy Something -- Its Own Authenticity

  • By Todd Gilchrist
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  • October 24, 2011 2:00 AM
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  • 11 Comments
Combining the life-meets-art origin stories of “Ray” with the history-as-high melodrama of “Braveheart,” “Anonymous” marks a departure from director Roland Emmerich’s previous work as a purveyor of blockbuster destruction, but he still manages to destroy any credible sense of history with his speculative portrait of the man who might have been responsible for the works of William Shakespeare. Emmerich, casting his vote for the “Oxfordian” view of the playwright’s actual identity, turns what could have been an intelligent and provocative examination of fact and fiction into an overwrought and cretinous historical thriller that’s too busy disappearing into flashbacks and other frivolous digressions to bother discovering any actual truth.

FNC ’11: Alexander Sokurov’s 'Faust' An Odd, Dense Adaptation Of Goethe's Classic

  • By Kevin Jagernauth
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  • October 23, 2011 6:38 AM
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  • 0 Comments
By Nikola Grozdanovic reporting from the Festival du Nouveau Cinema in Montreal.

NYFF Review: 'Goodbye First Love' Looks At Young Romance Without Affection

  • By Christopher Bell
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  • October 23, 2011 6:25 AM
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  • 2 Comments
Television and movies love to indulge us in pre-adulthood nostalgia. Whether the bait is loose (young hooligans causing a ruckus) or more specific and event-oriented (prom, which we've seen less of lately because, well, prom sucks), the powers that be tug at our heartstrings and force us to look back at a time free of major responsibilities and full of fresh experiences. The glazed schmaltz can be off-putting for some, but occasionally sincerity shines through and we get something that captures the emotions extraordinarily well (for this writer's money, "The Virgin Suicides" and "The Girl" are uneven but nail certain feelings on the head). But if we look back without this fondness, what are these stories? Are they merely just happenings that somehow affected the person we become, or are they just the product of naive children that didn't know better? Mia Hansen-Løve's "Goodbye First Love" attempts a critical look at a teenager's first relationship without wooing us first with their blithe beginnings, but has very little to say about the topic.

LFF '11 Review: 'Wild Bill' Is An Immensely Likable Directorial Debut From Dexter Fletcher

  • By Oliver Lyttelton
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  • October 23, 2011 5:30 AM
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  • 0 Comments
For whatever reason, directorial debuts by British character actors tend to lean towards the gritty kitchen-sink drama; Tim Roth, Gary Oldman and, more recently, Paddy Considine have all broken their filmmaking cherry with uncompromisingly tough, bleak subject matter. Considering that it involves abandonment, council estates and the risk of being taken into care, one might be forgiven for expecting the same from Dexter Fletcher's first film, "Wild Bill." But then, Fletcher's best known for being one of the central quartet, alongside Jason Statham, Jason Flemyng and Nick Moran, in Guy Ritchie's debut "Lock, Stock and Two Smoking Barrels," and for appearing frequently in Matthew Vaughn's pictures, so could Fletcher have turned out some kind of guns and geezers movie instead?

Review: 'Norman' A Well-Observed, Tender & Moving Ode To Adolescence & Loss

  • By Kevin Jagernauth
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  • October 20, 2011 5:15 AM
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  • 3 Comments
Being a teenager is hard enough, but for Norman (Dan Byrd), the minefield of emotions he is forced to navigate is almost absurd in its proportion. Certainly not popular, but not a total exile either, Norman seems to exist in his own bubble at high school, one that keeps his pervading depression and suicidal thoughts as a close companion. But if this weren't enough, Norman, still reeling from the tragic death of his mother in a car accident, is also bearing witness to his father (Richard Jenkins) wasting away in the final stage of stomach cancer, with this painful experience compounded by the worry that the bills around the house are starting to pile up. But with all of this comes a shining ray of light in Emily (Emily VanCamp), a classmate who shares Norman's oddball sense of humor (and is the rare girl who loves Monty Python) but more importantly, shows a genuine interest in the outsider.
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Review: 'Le Havre' Another Hilarious, Humane & Moving Film From Aki Kaurismaki

  • By Kevin Jagernauth
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  • October 20, 2011 4:13 AM
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  • 1 Comment
The following is a reprint of our review from Cannes.

Review: 'Margin Call' A Compelling 24-Hour Slice Of The Start Of The Economic Collapse

  • By Kevin Jagernauth
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  • October 20, 2011 3:15 AM
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  • 1 Comment
The following is a reprint of our review from Cannes.

VIFF '11: Lo-Fi Puppets And A Big, Hilarious Heart; 'Kooky' Is Destined To Be A Family Cult Classic

  • By Erik McClanahan
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  • October 20, 2011 1:54 AM
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  • 3 Comments
In many ways, “Kooky” harkens back to the halcyon days of yore (read: in particular the ‘80s) when things were scary in kids’ movies. Or maybe we're just starting to show our old age, but didn't it seem like filmmakers back then were unafraid to at least hint at the possibility of actual threat and potential harm to characters, if not follow through on it completely? It was certainly a different time. Maybe they were untethered by the whims of insanely over-protective parents and ludicrous MPAA ratings strictures that insist on rounding off every sharp edge, creating a bland cinematic landscape these days that all-too-often wears down a movie for families to a pathetic, sanitized nub.

NYFF '11 Review: 'Play' Is A Confident, Complex Look At Social Issues In Sweden

  • By Christopher Bell
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  • October 19, 2011 12:58 PM
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  • 2 Comments
Festivals can be a great place to discover new, brilliant cinema, but often times the unknown films get drowned out by the heavily buzzed or the latest by a longstanding director. How many of us at the New York Film Festival saw "Martha Marcy May Marlene" and "The Kid with a Bike" but, for whatever reason, happened to miss out on "The Loneliest Planet"? It's highly likely that this writer isn't alone. Still, one person generally can't see everything a festival has to offer, so flicks that don't have Palme d'Or helmers behind them or a truckload of auspicious praise for their "breakout performer" tend to get shafted. Still, it's a must to attend those we know nothing about. Besides the fact that they deserve it, they also have something those lauded ones don't: the ability to surprise; for the viewer to go in blind and be completely taken without having known a thing about its cast or the curriculum vitae of the filmmaker. With movie news at the click of a button and various media available all over the web, this is a rare occurrence. We've had a few very pleasant whammies this year, from the social/political critiquing "Policeman" to the sweet "Corpo Celeste," and we're happy to add Ruben Östlund's "Play" to that trust.

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