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  • The Playlist
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    Watch: 10 Minute Clip From Disney's 'John Carter'

    It's been a long time coming but with the imminent release of "John Carter," Disney seem to have finally woken up and remembered that they have a job to do in marketing the movie. While this writer has seen and failed to buy in to the movie amid mountains of exposition, there's still enough promise there for a stronger sequel, and enough demonstrable care and dedication in the craft that it's hard not to will it to do well at the box office and avoid being the disaster some have predicted it will be.

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  • Thompson on Hollywood
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    Now and Then: From 'Ferris' to 'Sleepover,' Teens, and Times, Have Changed

    "The Myth of the American Sleepover," David Robert Mitchell's independent film about a group of suburban Detroit teens messing around, and messing up, on a single night near the end of summer, is a quiet reminder of the power, and price, of looking.

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  • The Lost Boys
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    Why True/False Is An Awesome, Awesome Film Festival

    I was too busy enjoying myself to blog anything from my 4 days in Columbia, Missouri at True/False (save for sadly posts about the gay bar being scary and a vomit fine warning in a taxt -- both basically the opposite of everything else I experienced).

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  • Thompson on Hollywood
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    'The Walking Dead' Episode 4 Review: 'Judge, Jury, Executioner'

    Perhaps it's because it originally set its own bar too high: “The Walking Dead” was so good out of the gate, such a great mixture of genre and sophistication, that its current episodes feel like a come-down.

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  • Leonard Maltin
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    Here Comes Napoleon!

    The San Francisco Silent Film Festival’s landmark screening of Abel Gance’s epic Napoleon with Carl Davis conducting a live orchestra is less than three weeks away. You don’t want to kick yourself afterwards for missing out on this experience: Kevin Brownlow’s 5½ hour restoration, in 35mm, with its revolutionary three-screen tryptich finale, in the beautifully restored, 3,000-seat Paramount Theatre in Oakland, California, accompanied by the Oakland East Bay Symphony. If you’re still on the fence about spending the money to travel there and purchase the not-inexpensive tickets, I would direct you to a list of Frequently Asked Questions about this two-weekend event.

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  • Shadow and Act
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    Warner Archive DVD Releasing A Whole Lot Of Jim Brown Movies This Week

    I can't lie. I was overjoyed when I found out the news that this week the terrific DVD-on-Demand label Warner Archive (which has been a big success for Warner Home Video with over 1600 titles so far) will be releasing this week four MGM films made during the late 60's and early 70's starring the my hero, the man's man, Jim Brown..

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  • The Lost Boys
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    You Know You're In a College Town When...

    You Know You're In a College Town When...

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  • Thompson on Hollywood
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    Post-Oscar Weekend Indie Box Office: Alive but Struggling

    The operation was a success, but the patients are on life support.

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  • The Playlist
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    Weekend Box Office: 'The Lorax' Rules The Roost, While 'The Artist' Fails To Capitalize On Oscar Night

    Will Smith, Steven Spielberg, Nicolas Sparks, Tyler Perry – to these foolproof brands, add one more: the late Dr. Seuss. “The Grinch,” “The Cat in The Hat“ and “Horton Hears a Who” have all grossed over $100 million, and now, opening with stronger numbers than the three of them is “The Lorax.” The environmentally-minded ‘toon, which ironically has helped market SUVs, is the third effort from Illumination Entertainment, and it looks very likely to outgross the openings of both “Despicable Me” and “Hop.” Industry expectations pegged this as a huge opener, as it was a notably deflated market with no animated blockbusters since last winter’s mostly well-received “Puss-In-Boots.” In other words, duh.

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  • Shadow and Act
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    Weekend B.O. (March 2-5) "The Lorax" slays

    Everyone knows that animated films tend to do extremely well at the box office and that The Lorax would, not surprisingly, do very well this weekend..  But no one predicted the stunning results  with the film raking in $70 million leaving everything else in the dust behind it.

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