Terminator Salvation

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All Terminator movies are the same: junk. But McG’s Terminator Salvation has an important new element: humanity. In the opening scene, terminally ill scientist Dr. Serena Kogan (Helena Bonham Carter) poignantly addresses Marcus Wright (Sam Worthington), a convicted murderer on Death Row. Her odd request that he donate his organs to science could be sinister, [&hellip
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The Beautiful and the Damned

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The System rewards Steven Soderbergh and he pays his Faustian debt with haughty judgments. Soderbergh’s new film The Girlfriend Experience is the most unironic celebration of materialist privilege since Woody Allen’s Reagan-era heralds Manhattan and Hannah and Her Sisters. Already proclaimed, even in the alternative media, The Girlfriend Experience paints a gaudy face on the [&hellip
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A NY State of Cannes

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Martin Scorsese looked a little out of place against the lavish backdrop of the French Riviera, but the crowd was still happy to have him there. Presenting a special restoration of The Red Shoes to an appreciative audience at the 62nd Cannes Film Festival, Scorsese absorbed the spotlight. “We love you, Marty!” someone with a [&hellip
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Quotidian Perfection

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Foreign-language art films like Jerichow, by German writer-director Christian Petzold, Three Monkeys by Turkish filmmaker Nuri Bilge Ceylan and Cary Fukunaga’s Sin Nombre come pre-sold with film festival approval. That only means they appeal to the personal preferences of our cultural gatekeepers who predictably dismiss a pop-culture surprise like Next Day Air. Opening without fanfare [&hellip
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STAR TREK AND X-MEN ORIGINS

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Bow Down to Hollywood season is upon us. If the line, “We’re going to make you indestructible, but first we’re going to destroy you,” seems awesome, you’re probably male and more than likely a child—at least emotionally. That consumer-oriented line is from X-Men Origins: Wolverine, which, like the new Star Trek movie, is designed for [&hellip
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LITTLE ASHES

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Little Ashes is a melodrama about the gay closet focusing on poet Frederico García Lorca’s love for painter Salvador Dalí when both were students just before the Spanish Civil War. As schoolmate Luis Buñuel womanizes in the distance, Lorca and Dalí torment and tease each other due to social and personal repression. Director Paul Morrison [&hellip
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OUTRAGE

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An amazing Q&A session followed the Tribeca Film Festival premiere of Outrage, Kirby Dick’s documentary condemning closeted gay Republicans. Instead of the usual self-congratulatory ass-kissing in question form, the choir that Dick preaches to through his facile, hot-topics docs nearly rebelled. There was genuine inquiry about Dick’s facile, scattershot methods. At a film festival! In [&hellip
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REVANCHE

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A possibly great filmmaker has arrived to restore cinema’s sanity against such sick minds as Neil LaBute, Michael Haneke, Lars Von Trier, Gus Van Sant and Todd Haynes. Austrian director-writer Götz Spielmann’s Revanche (his fifth film but the first to be released in the United States) provides a cure for sick cinema by avoiding the [&hellip
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LIMITS OF CONTROL

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Jim Jarmsuch has been responsible for many of the dullest hours ever spent at the movies. His new The Limits of Control is no different. It’s another deliberate excursion into hipster eccentricity as Lone Man (Isacch De Bankolé) helps smuggle diamonds from France to Spain and dispatches a Mr. Big type. Jarmusch still doesn’t know [&hellip
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NO WIMPS ALLOWED

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Dito Montiel meet James Toback. The directors of this week’s two evocatively titled boxing films—Montiel’s Fighting and Toback’s Tyson—share a distinct interest in the public expression of class, race and male sexuality. Each filmmaker’s approach to storytelling derives from autobiographical impulses: Toback’s career reflects a background of relative Manhattan privilege, Montiel’s reflects working-class Queens. They [&hellip
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