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From: "Kathy Y." <[email-masked]>
Date: Tue, 02 Oct 2007 04:01:21 +0500

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A movie featuring Ice Cube bellowing "No more profanity. This film seems to be "All About the Benjamins," to use the title of an Ice Cube action comedy. 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. 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." Malcolm Turner (Martin Lawrence) is an FBI agent who is a master of disguise and will stop at nothing to get his man.

When a bank robber escapes from prison and goes on a violent crime spree, Malcolm is assigned to bring him in. She, however, is running out of patience with his protracted adolescence. The appeal of “The Wendell Baker Story” depends on how charming you find the Wilson brothers, with their chipmunk grins and hip smart-aleck attitude. kommazone nocalsch-archive888megatron.ietf.orgmo For my taste, a little goes a long way.

The attractive stranger at the airport bar hears one version, the parole officer another, and the P.T.A. board gets something entirely different. 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. 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. With the decline of manufacturing and few formal jobs, many residents make a meager living off one another’s misery.

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. 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. A movie featuring Ice Cube bellowing "No more profanity. " — and meaning it — should produce a lot more laughs than this intermittently amusing sequel.

Ice Cube returns as star and executive producer of "Barbershop 2." His Calvin Palmer provides the common sense that holds the shop together, a glue it desperately needs. 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 prowling camera and dusky colors give much of “Zoo,” which opens with the portentous image of what appear to be miners emerging from a tunnel, a sumptuous, almost velvety look and vibe, an effect enhanced by the repeated use of slow-motion photography.

Characters don’t just walk in this film; they float across the frame, pouring like liquid toward their inexorable destinies. 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.

(This may be why I liked it better than the others. As it happens, the over-all shape does recall a Busby Berkeley musical — snappy story, lavish number, snappy story, lavish number — but without the snap or fun. 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. 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." Shot on Super 16-millimeter film, with many scenes steeped in a blue that would have made Yves Klein envious, “Zoo” is, to a large extent, about the rhetorical uses of beauty and metaphor and of certain filmmaking techniques like slow-motion photography. In this comedy, a cop assumes a new identity in his valiant battle against crime: an elderly grandmother.

A Panglossian eternal teenager at heart, he is madly in love with his girlfriend, Doreen (Eva Mendes). They have largely ignored the first-person explanation — the life story that people themselves tell about who they are, and why. Moreover, the tone, the lessons, even the facts in a life story can all shift in the changing light of a person’s mood, its major notes turning minor, its depths appearing shallow.

Yet in the past decade or so a handful of psychologists have argued that the quicksilver elements of personal narrative belong in any three-dimensional picture of personality. YouTube routines notwithstanding, most people do not begin to see themselves in the midst of a tale with a beginning, middle and eventual end until they are teenagers.

Psychologists know what life stories look like when they are fully hatched, at least for some Americans. The pride of college graduation is spoiled when a friend makes a cutting remark. They were laid low by divorce, only to meet a wonderful new partner. In broad outline, the researchers report, such tales express distinctly American cultural narratives, of emancipation or atonement, of Horatio Alger advancement, of epiphany and second chances. Depending on the person, the story itself might be nuanced or simplistic, powerfully dramatic or cloyingly pious. That DreamWorks ogre’s skin is the color of money after all. But then again, so did my kids.)

The story this time unfolds as a series of increasingly dreary and teary melodramatic encounters regularly interrupted by special-effects-laden fights. As it happens, the over-all shape does recall a Busby Berkeley musical — snappy story, lavish number, snappy story, lavish number — but without the snap or fun. " — and meaning it — should produce a lot more laughs than this intermittently amusing sequel.

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." In this comedy, a cop assumes a new identity in his valiant battle against crime: an elderly grandmother.

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. Written by Luke Wilson, who directed with his older brother Andrew, it also stars a third brother, Owen, as Wendell’s nemesis. For more than a century, researchers have been trying to work out the raw ingredients that account for personality, the sweetness and neuroses that make Anna Anna, the sluggishness and sensitivity that make Andrew Andrew. The attractive stranger at the airport bar hears one version, the parole officer another, and the P.T.A. “When we first started studying life stories, people thought it was just idle curiosity — stories, isn’t that cool? Researchers have found that the human brain has a natural affinity for narrative construction. People tend to remember facts more accurately if they encounter them in a story rather than in a list, studies find; and they rate legal arguments as more convincing when built into narrative tales rather than on legal precedent.

In analyzing the texts, the researchers found strong correlations between the content of people’s current lives and the stories they tell. In broad outline, the researchers report, such tales express distinctly American cultural narratives, of emancipation or atonement, of Horatio Alger advancement, of epiphany and second chances. We find that when it comes to the big choices people make — should I marry this person?

In a recent study presented at the annual meeting of the Society for Personality and Social Psychology in January, Mr. Adler reported on 180 adults from the Chicago area who had recently completed a course of talk therapy.