Subject: Adrienne gave me this link

From: "Jeffrey G." <[email-masked]>
Date: Sat, 06 Oct 2007 22:07:36 -0200

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Wendell, who works with a partner, Reyes (Jacob Vargas), out of an Airstream trailer he calls the Ellis Island of the Southwest, means no harm. But if you like Lyle Lovett songs, Thomas McGuane novels and sardonic country yarns sung by grizzled Texan “outlaws,” you’ll have no trouble slipping into its easygoing groove, fortified by its country-rock soundtrack. Smirks are to be had, but no belly laughs. He said he worries they will end up as poor, illiterate traders like him. For all I know, there may be an endless supply of “Shrek” sequels in the pipeline.

Unless the Shrek team wants to follow its hero into the dangerous swamps of mid-life, thus shifting his literary pedigree away from William Steig and in the direction of John Updike or Philip Roth, it may want to leave him in a condition of more-or-less happily ever after. Which is only to say that “Shrek the Third,” directed by Chris Miller and Raman Hui from a script with a half-dozen credited begetters, already feels less like a children’s movie than either of its predecessors. That DreamWorks ogre’s skin is the color of money after all. kommazone nocalsch-archive888megatron.ietf.orgmo In the first movie Shrek (voiced by Mike Myers) met and wooed his lady love, Fiona (Cameron Diaz); in the second he got to know the in-laws.

The current installment finds him faced with impending fatherhood and something of a career crisis. After exploring the predominance of violence in American culture in Bowling for Columbine and taking a critical look at the September 11th attacks in Fahrenheit 9/11, activist filmmaker Michael Moore turns his attentions towards the topic of health care in the United States in this documentary that weighs the plight of the uninsured against the record profits of the pharmaceutical industry. Success may not have spoiled Mr. Raimi as it has Peter Parker, but it seems as if it has zapped his gracious good humor, which was so critical to the first two films. In the first movie Shrek (voiced by Mike Myers) met and wooed his lady love, Fiona (Cameron Diaz); in the second he got to know the in-laws.

(Ready or not, the studio is talking about a fourth.) Aesthetically and conceptually wrung out, fizzled rather than fizzy, this latest installment in the spider-bites-boy adventure story shoots high, swings low and every so often hits the sweet spot, but mostly just plods and plods along, as if its heart were pumping tired radioactive blood. A movie featuring Ice Cube bellowing "No more profanity.

" — and meaning it — should produce a lot more laughs than this intermittently amusing sequel. Instead they go to a Koranic school, where they learn the Koran by rote. In the first movie Shrek (voiced by Mike Myers) met and wooed his lady love, Fiona (Cameron Diaz); in the second he got to know the in-laws. The current installment finds him faced with impending fatherhood and something of a career crisis. Unless the Shrek team wants to follow its hero into the dangerous swamps of mid-life, thus shifting his literary pedigree away from William Steig and in the direction of John Updike or Philip Roth, it may want to leave him in a condition of more-or-less happily ever after. Success may not have spoiled Mr. Most of the decisions involving this sequel to the spirited original "Barbershop" — a movie that itself cobbled together pieces of other projects — are about carefully retracing the steps of that 2002 hit in order to keep those $100 Benjamins flowing.

But although Ice Cube's business sense is right on the money, the minor surprises of the first film are gone. With the decline of manufacturing and few formal jobs, many residents make a meager living off one another’s misery. Instead they go to a Koranic school, where they learn the Koran by rote.

The current installment finds him faced with impending fatherhood and something of a career crisis. After exploring the predominance of violence in American culture in Bowling for Columbine and taking a critical look at the September 11th attacks in Fahrenheit 9/11, activist filmmaker Michael Moore turns his attentions towards the topic of health care in the United States in this documentary that weighs the plight of the uninsured against the record profits of the pharmaceutical industry.

Raimi as it has Peter Parker, but it seems as if it has zapped his gracious good humor, which was so critical to the first two films. The story this time unfolds as a series of increasingly dreary and teary melodramatic encounters regularly interrupted by special-effects-laden fights. A movie featuring Ice Cube bellowing "No more profanity. But although Ice Cube's business sense is right on the money, the minor surprises of the first film are gone. When the moneyed inner-city entrepreneur Quentin Leroux (Harry Lennix) builds a lavish competitor called Nappy Cutz right across the street from Calvin's shop, the battle is on — Calvin has to fight to keep his business alive. The bittersweet aspects of the film add texture, though they can't supplant the lack of comedy; there were more laughs in Ice Cube's last picture, "Torque." With the decline of manufacturing and few formal jobs, many residents make a meager living off one another’s misery.

But there is nonetheless a feeling of finality about “Shrek the Third,” a sense that the tale has at last reached a state of completion. The current installment finds him faced with impending fatherhood and something of a career crisis. If ever a movie had a case of the blues and the blahs, it’s “Spider-Man 3,” the third and what feels like the end of Sam Raimi’s big-screen comic-book adaptations.

(Ready or not, the studio is talking about a fourth.) Aesthetically and conceptually wrung out, fizzled rather than fizzy, this latest installment in the spider-bites-boy adventure story shoots high, swings low and every so often hits the sweet spot, but mostly just plods and plods along, as if its heart were pumping tired radioactive blood. That DreamWorks ogre’s skin is the color of money after all.

Which is only to say that “Shrek the Third,” directed by Chris Miller and Raman Hui from a script with a half-dozen credited begetters, already feels less like a children’s movie than either of its predecessors. If ever a movie had a case of the blues and the blahs, it’s “Spider-Man 3,” the third and what feels like the end of Sam Raimi’s big-screen comic-book adaptations. (Ready or not, the studio is talking about a fourth.) Aesthetically and conceptually wrung out, fizzled rather than fizzy, this latest installment in the spider-bites-boy adventure story shoots high, swings low and every so often hits the sweet spot, but mostly just plods and plods along, as if its heart were pumping tired radioactive blood. Instead they go to a Koranic school, where they learn the Koran by rote. That DreamWorks ogre’s skin is the color of money after all. But there is nonetheless a feeling of finality about “Shrek the Third,” a sense that the tale has at last reached a state of completion. In the first movie Shrek (voiced by Mike Myers) met and wooed his lady love, Fiona (Cameron Diaz); in the second he got to know the in-laws.

Unless the Shrek team wants to follow its hero into the dangerous swamps of mid-life, thus shifting his literary pedigree away from William Steig and in the direction of John Updike or Philip Roth, it may want to leave him in a condition of more-or-less happily ever after. Which is only to say that “Shrek the Third,” directed by Chris Miller and Raman Hui from a script with a half-dozen credited begetters, already feels less like a children’s movie than either of its predecessors. That DreamWorks ogre’s skin is the color of money after all.

Will he take over his father-in-law’s business or remain true to his vocation of bellowing and smashing things? Which is only to say that “Shrek the Third,” directed by Chris Miller and Raman Hui from a script with a half-dozen credited begetters, already feels less like a children’s movie than either of its predecessors.

(This may be why I liked it better than the others. But then again, so did my kids.) Success may not have spoiled Mr. Raimi as it has Peter Parker, but it seems as if it has zapped his gracious good humor, which was so critical to the first two films. For all I know, there may be an endless supply of “Shrek” sequels in the pipeline. In the first movie Shrek (voiced by Mike Myers) met and wooed his lady love, Fiona (Cameron Diaz); in the second he got to know the in-laws. The current installment finds him faced with impending fatherhood and something of a career crisis.

Will he take over his father-in-law’s business or remain true to his vocation of bellowing and smashing things? He said he worries they will end up as poor, illiterate traders like him. Which is only to say that “Shrek the Third,” directed by Chris Miller and Raman Hui from a script with a half-dozen credited begetters, already feels less like a children’s movie than either of its predecessors.

(This may be why I liked it better than the others. The story this time unfolds as a series of increasingly dreary and teary melodramatic encounters regularly interrupted by special-effects-laden fights.