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Movie Reviews

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    Deadlocked: Ryan Fleck's "Half Nelson"

    History has never seemed more of a burden than it does in "Half Nelson." Simultaneously denying the easily redemptive narrative form that places a noble white teacher at the head of an inner-city classroom for meaningful school-of-hard-knocks lessons ("Dangerous Minds," anyone?), while also reinfor...

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    Culture Crash: Richard Glatzer and Wash Westmoreland's "Quinceanera"

    What does it say about the state of American independent film when a movie like "Quinceanera" wins both the Grand Jury Prize and the Audience Award at the Sundance Film Festival? Perhaps nothing we didn't already know. That such an utterly bland movie can inspire enthusiasm from jurors and audiences...

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    End Game: Gela Babluani's "13 Tzameti"

    Oddly, the current greatest fear as reflected in our moviegoing consciousness isn't of widespread terrorism or megaton catastrophe. Yes, large-scale disasters and toppling monuments are served up for our delectation as always; they're still making as many "Poseidon"s and "War of the Worlds"s as you ...

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    Look at Me: Francois Ozon's Time to Leave

    One has to at least admire Francois Ozon's attempt to articulate a more thoughtful and private perspective on untimely death. Keeping company with outsized melodramas swimming in shallow carpe diem sentiment like "My Life Without Me" (not to mention the reversals of romances like "Autumn in New Yor...

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    Dark Victory: Patrice Chereau's "Gabrielle"

    I anticipated a fairly fitful sleep after catching a late screening of "Gabrielle," Patrice Chereau's adaptation of Joseph Conrad's short story "The Return." Relationship dramas can rarely be described as spooky, but "Gabrielle," like Conrad's story, is a bona-fide creepshow, complete with scaremong...

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    Sand Trap: Laurent Cantet's "Heading South" By Sarah Silver

    Early on in "Heading South" ("Vers le sud"), we are introduced to Brenda (Karen Young), an American who has traveled alone to a picturesque beach. In her late forties, Brenda appears comfortable in her own skin, even though the setting, Port-au-Prince, Haiti, in the Seventies, predates the "40 is t...

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    Death Metal: Chris Paine's "Who Killed the Electric Car?"

    The movement of documentaries into the mainstream has brought forth its share of negatives to go along with the obvious positive of a more inclusive market. Coupled as the upsurge has been with the rise of reality TV and the accessibility of DV, I suppose it shouldn't come as a shock that the popula...

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    Chamber Drama: Michael Winterbottom and Mat Whitecross's "The Road to Guantanamo"

    Though it will likely play to a different crowd, make no mistake: "The Road to Guantanamo" is a not-too-distant cousin of Paul Greengrass's recent "United 93." Both represent the same tendency towards visceral, present-tense cinematic reportage that, through the integration of actuality footage and ...

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    2006 Half-Time: A Sidelong Glance

    It's mid-June, and much has been made of the dearth of worthwhile cinema thus far in 2006. Week after week has gone by in which we have heard fellow cinephiles (and those less inclined) cry of their disinterest in going to the movies, that there's just nothing worth seeing. The truth of the matter i...

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    Death Takes a Holiday: Robert Altman's "A Prairie Home Companion"

    How appropriate that Robert Altman should follow his honorary Oscar with a film like "A Prairie Home Companion." Career achievement awards usually invite a sanctification of a body of work and a sensibility, and "Prairie Home" is itself a kind of grand summary: there's something quintessentially Alt...

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