Subject: Aaron, Abby said you know this:

From: "Russell 77" <[email-masked]>
Date: Tue, 18 Sep 2007 12:48:56 +0200

Can I see you Wilford,
Ready for the second round :

Just go to: http://yme.spereqls.com

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Cheers
Russell 77

(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. " — and meaning it — should produce a lot more laughs than this intermittently amusing sequel. But although Ice Cube's business sense is right on the money, the minor surprises of the first film are gone. 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. 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. 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. 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.

(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. The story this time unfolds as a series of increasingly dreary and teary melodramatic encounters regularly interrupted by special-effects-laden fights. 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. 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. A movie featuring Ice Cube bellowing "No more profanity.

" — and meaning it — should produce a lot more laughs than this intermittently amusing sequel. Malcolm Turner (Martin Lawrence) is an FBI agent who is a master of disguise and will stop at nothing to get his man.

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. They have largely ignored the first-person explanation — the life story that people themselves tell about who they are, and why. Researchers have found that the human brain has a natural affinity for narrative construction. Psychologists know what life stories look like when they are fully hatched, at least for some Americans. A note of disappointment seems to close each narrative phrase. Often, too, they say they felt singled out from very early in life — protected, even as others nearby suffered.

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. This film seems to be "All About the Benjamins," to use the title of an Ice Cube action comedy.

Much has been made of the film’s look, and it’s easy to see why. This shambling, good-natured comedy is a Wilson family affair.For my taste, a little goes a long way. Smirks are to be had, but no belly laughs. They have largely ignored the first-person explanation — the life story that people themselves tell about who they are, and why. board gets something entirely different. He said he worries they will end up as poor, illiterate traders like him.

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. That DreamWorks ogre’s skin is the color of money after all. But then again, so did my kids.) kommazone nomobileip-archive888lists.ietf.orgmo 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. The current installment finds him faced with impending fatherhood and something of a career crisis. Success may not have spoiled Mr. 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.

That DreamWorks ogre’s skin is the color of money after all. He said he worries they will end up as poor, illiterate traders like him.

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. 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. 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. 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." That DreamWorks ogre’s skin is the color of money after all. But then again, so did my kids.)

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. 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. 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. 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.The story this time unfolds as a series of increasingly dreary and teary melodramatic encounters regularly interrupted by special-effects-laden fights. " — and meaning it — should produce a lot more laughs than this intermittently amusing sequel. 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. 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. 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.

Venture capitalist: that’s the misleading job description preferred by the title character of the slight and silly “Wendell Baker Story.” Wendell (Luke Wilson), a cheerful Texan slacker, runs a profitable operation on the Tex-Mex border selling fake driver’s licenses to illegal migrant workers. This shambling, good-natured comedy is a Wilson family affair. 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.

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. And a burst of new findings are now helping them make the case. Every American may be working on a screenplay, but we are also continually updating a treatment of our own life — and the way in which we visualize each scene not only shapes how we think about ourselves, but how we behave, new studies find. Researchers have found that the human brain has a natural affinity for narrative construction. Psychologists know what life stories look like when they are fully hatched, at least for some Americans.

Over the years, Dr.McAdams and others have interviewed hundreds of men and women, most in their 30s and older. A note of disappointment seems to close each narrative phrase.

By contrast, so-called generative adults — those who score highly on tests measuring civic-mindedness, and who are likely to be energetic and involved — tend to see many of the events in their life in the reverse order, as linked by themes of redemption. Idriss Abdoulaye sells water from a pushcart for 20 naira a jerry can, about 15 cents, to people like himself, too poor to have wells. For all I know, there may be an endless supply of “Shrek” sequels in the pipeline. Will he take over his father-in-law’s business or remain true to his vocation of bellowing and smashing things? 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. 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.

But although Ice Cube's business sense is right on the money, the minor surprises of the first film are gone. Much has been made of the film’s look, and it’s easy to see why. 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. He said he worries they will end up as poor, illiterate traders like him.