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  • Spout
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    "Green Lantern" Trailer: Concerns and Excitement From Around the Web

    When the "Green Lantern" trailer showed up online the other day, immediate reactions seemed so negative I thought we might have another "Avatar" on our hands. As in, here's a highly anticipated movie that's easily crapped on in initial ad form but which will end up making a lot of, well, green. Personally, I thought the movie looked like the worst comic book-based superhero movie since Roger Corman's "Fantastic Four," but that was a little harsh, even for me. In reality it's more like the 2005 "Fantastic Four," which still isn't great, but it's the best we can hope for with a movie that sends Ryan Reynolds back to "Van Wilder" territory and then covers him in CG magic.

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  • The Playlist
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    Howard Shore Returns To Score Peter Jackson's 'The Hobbit'

    While the faces will be different in Peter Jackson's forthcoming two-parter "The Hobbit," the behind scenes talent will largely remain the same. With the project now gearing up to shoot in the longtime home of Middle Earth New Zealand, and with Jackson set to work with the same crews he utilized on those films, it's no surprise that a familiar name is returning to score the film and help replicate the magic of "The Lord Of The Rings" trilogy.

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  • Leonard Maltin
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    film review: HARRY POTTER AND THE DEATHLY HALLOWS, PART ONE

    In the old days of Saturday matinee serials, audiences faced with cliffhanger endings took comfort in knowing that the story would be resumed one week later. The same can’t be said for the latest Harry Potter picture, which offers much incident but no resolution: for that, we all have to wait until next year. If you’re a dedicated Potter fan, you’ll have to take what you can from this one—mainly, the pleasure of spending time with its leading characters and the young actors who play them. Following J.K. Rowling’s narrative, there are no scenes at Hogwarts’ Academy. This denies us the opportunity to revel in seeing the finest British actors alive in the vast Potter ensemble; we get only token appearances from Alan Rickman, Helena Bonham Carter, Robbie Coltrane and a handful of others, while Maggie Smith, as Professor McGonagall, is absent altogether.

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  • Thompson on Hollywood
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    Winners and Answers: David Thomson's Stump-the-Film-Buff 50 Movie Questions Quiz

    I commend all who responded, in part or in full, to David Thomson's first Stump-the-Film-Buff movie quiz, 50 questions strong, for your deep love and knowledge of the spectrum of global film, old and new. Twenty-four film savants submitted answers to all 50 questions, and two brainiacs got them all right. Two buffs weighed in with only one wrong answer, but the one who submitted first won third place. Four more got just two answers wrong. Thomson will send the three winners below a signed copy of his must-own New Biographical Dictionary of Film, fifth edition.

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  • Leonard Maltin
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    dvd review: John Ford: Hiding In Plain Sight

    Many people believed that John Ford was the finest American director of the 20th Century. In a perfect world, all of his films would be readily available for viewing but that is simply not the case.

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  • "Boredom at Its Boredest" by Michael ...
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    Movie Theater Switcheroo

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    More: Indie Film
  • The Playlist
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    Eli Roth To Produce Two Horror Films 'Clown' & 'Aftershock'

    How do you make it to Hollywood? Apparently, all you have to do is produce a fake movie trailer that barely becomes an Internet meme and put Eli Roth's name on it.

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  • SydneysBuzz
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  • The Playlist
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    New 'True Grit' Character Posters Demand Retribution

    Some new "True Grit" characters posters have landed today and they keep up the solid tone the film's marketing team have evinced thus far, that of a gritty, no holds barred western from the Coen Brothers. But as it's pretty much the last holdout to screen for critics, is it going to be the Oscar contender everyone thinks it is?

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  • The Playlist
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    Alejandro González Iñárritu Says The Somber 'Biutiful' Is Actually About "Life"

    When "Biutiful," Alejandro González Iñárritu's searing and deeply-moving (and, granted, at times painfully difficult-to-watch) new film debuted at Cannes this past summer, it was almost universally cut down to size. People said it was too bleak, too hopeless, and no matter how stellar and immersive a performance lead Javier Bardem provided -- and, trust us, it's spectacular; the film's one element that was unanimously praised -- most critics couldn't get behind it (Bardem would go on to win the Best Actor prize in Cannes). Maybe it was the heat stroke, the film festival nature of cramming in four or five films a day, or the looking-for-the-next-big-thing attitude that permeates Cannes, but the film was, at best, unfairly overlooked and, at worst, almost universally derided.

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