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Movie Reviews

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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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    Front and Center: Deborah Scranton's "The War Tapes"

    Attempting to achieve a delicate balance between a respect for and a critical stance toward the subject, with a constant awareness of the moral and ethical dilemmas potentially undermining the epistemological foundations of their projects, war documentaries arrive onscreen carrying a host of artisti...

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    The Heartbreakers: "A Lion in the House"

    [indieWIRE's weekly reviews are usually written by critics from Reverse Shot. This week, they've handed their column over to Steve Ramos who takes a look at Reverse Shot's first theatrical release. ]

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    The Children's Hour: Michael Cuesta's "12 and Holding"

    Though his films tend to have an air of rawness and "brutal honesty," Michael Cuesta, judging by his first feature, "L.I.E." and his latest, "Twelve and Holding," seems more interested in creating angsty tween soap operas than surveying what it's really like to be a prepubescent. Cuesta treats the h...

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    Black Reign: James Marsh's "The King"

    A big gloppy heaping of Southwestern Grand Guignol, James Marsh's "The King" is nevertheless shot with all the patience and "artfulness" we've come to expect from serious indie dramas in the new millennium. Never intent to call out its own trash as trash, "The King" couches its head-slapping melodra...

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    Paint By Numbers: Terry Zwigoff's "Art School Confidential"

    There's a moment early in "Art School Confidential" that hurts with sonorous beauty. A gorgeous model (Sophia Myles) arrives in life-drawing class. A virginal freshman, Jerome (opaque Max Minghella), is suddenly all anticipation. She doffs her robe, turns, nude and perfect; Beethoven deluges the sou...

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    Critic's Notebook: The State of Things: The 2006 Tribeca Film Festival

    Paul Greengrass's "United 93"-- energetic, screw-the-star-system doc-style fiction that tackles sensitive issues inextricably intertwined with the Tribeca Film Festival's host neighborhood -- was an appropriate opening for this fifth edition, which began last Tuesday (April 25th) and ends Sunday (Ma...

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    "A Time for Celebration": Hou Hsiao-hsien's "Three Times"

    The buzz coming out of Cannes last year was that "Three Times," a triptych of love stories set in different periods, would finally nab Taiwanese master Hou Hsiao-hsien a long deserved Palme d'Or. Hou left empty-handed, but eventually landed a prize just as evasive: a U.S. release. A recapitulation o...

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    Animal Collective: Lu Chuan's "Mountain Patrol: Kekexili"

    "Mountain Patrol: Kekexili" is, happily, nothing that it quite seems to be. Eco-friendly, "National Geographic"-funded story of an endangered species? Ripped-from-the-headlines true-life murder tale? Grandiose Herzogian treatise on man versus nature? None of those easy tags seem particularly applica...

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