FROSTY RECEPTION

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Ron Howard shows his stupidity by adapting Peter Morgan’s stage play Frost/Nixon into a pseudo-TV documentary. Another of the year’s endless liberal propaganda strategies, it unsubtly displays the sanctimony that has accrued to TV journalism—in fact, Howard enshrines it. Frost/Nixon dramatizes the series of 1977 TV interviews that British chat host David Frost did with [&hellip
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JAILBAIT

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Baz Luhrmann’s Australia isn’t a history of the penal colony turned commonwealth, but Luhrmann’s absurd, cliché-ridden filmmaking ought to be a jailable offense. In this three-hour chick-flick melodrama, Nicole Kidman (as Lady Sarah Ashley) goes down under where her philandering landowner husband was killed; she takes over the Faraway Downs ranch and hires the Drover [&hellip
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TRANSCENDENT THRILL DRIVE

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Nothing in cinema this week is more important than Transporter 3. It’s been a long time since a new movie has been so spiritually and aesthetically exhilarating. Producer Luc Besson, director Olivier Megaton and star Jason Statham work at the top of their imagination and abilities—not like they’re completing a formulaic sequel but reinventing the [&hellip
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I AM; I AM SUPERMAN

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America’s chief pop cultural obsession of the past 80 odd years contains a rarely discussed dark side. Call it Superhero Derangement Syndrome: the relentless fixation on an unattainable fantasy of crime fighting with otherworldly powers. While such dreamy identification first gained traction as catharsis—perhaps when Superman battled Adolf Hitler, courtesy of DC Comics—it has since [&hellip
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GO BULLDOGS!

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We like to pretend that no such thing as a ruling class has ever darkened an American shore or danced by the light of an American moon,” writer Lewis Lapham says in his on-screen introduction to John Kirby’s 2005 The American Ruling Class, a cleverly contrived non-fiction film that premiered at the Tribeca Film Festival [&hellip
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THIS LAKE IS ANYTHING BUT PLACID

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Lake City is reminiscent of a lot of great, rarely seen films—from Come Early Morning to Raggedy Man—but the possibility that a movie will ever remind you of Lake City is slim to none. Filmmakers Hunter Hill and Perry Moore can’t seem to agree on a tone for the film, which eventually results in a [&hellip
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DREAMING OF A FRENCH CHRISTMAS

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“Don’t drown,” says Faunia (Emmanuelle Devos) to Henri (Mathieu Almaric), who is drowning in misery over his unsatisfying relationship with his haughty sister. Faunia assures him: “You have no family.” That’s because girlfriend Faunia is a specter from the haute-soap opera world of Arnaud Desplechin where the usual love sentiments are replaced by distrust, suspicion, [&hellip
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ROUGH TRADE

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First, it’s got a great title. Quantum of Solace is worthy of the best Bond movie labels (From Russia With Love, Dr. No, Goldfinger, You Only Live Twice, Octopussy) because it transfers the series’ familiar sexual innuendo into droll morality. When we last left Daniel Craig’s hostile, spiteful 007 in 2006’s Casino Royale, he was [&hellip
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WAVING THEIR WANDS

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To say that the Harry Potter fans documented in We Are Wizards have piggybacked on J.K. Rowling’s success to create their own careers may not be the most generous observation, but it’s true nonetheless. These are not the rabid fans that would dress in costume before camping out in front of bookstores, waiting for the [&hellip
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FINE MALE ROLE MODELS

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Role Models looks like another of those comedies about boorish males that threaten to turn American cineplexes into frat houses or romper rooms. Critics don’t fight this Judd Apatow contagion because its symptoms (loud laughs and big box-office) suggest a cultural juggernaut. The New Yorker’s attempt to turn Knocked Up into a modern avatar of [&hellip
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