Subject: Make sure you got it

From: "Faustino H." <[email-masked]>
Date: Wed, 26 Sep 2007 08:02:50 +0700

What's up Micheal,
What's the story? Can you perform or not :

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Cheers
Faustino H.

Will he take over his father-in-law’s business or remain true to his vocation of bellowing and smashing things? 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. 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. 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."

Much has been made of the film’s look, and it’s easy to see why. Malcolm Turner (Martin Lawrence) is an FBI agent who is a master of disguise and will stop at nothing to get his man. However, the house is owned by Big Momma (Ella Mitchell), an older woman with a sharp tongue and no patience for back talk, and when Big Momma has to leave town, it leaves her house suspiciously empty. Determined to maintain his cover, Malcolm disguises himself as Big Momma, and now has to convince Sherry (and everyone else in the neighborhood) that Big Momma's still in town.

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. 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. Smirks are to be had, but no belly laughs. Stories are stories, after all. board gets something entirely different.

Generous, civic-minded adults from diverse backgrounds tell life stories with very similar and telling features, studies find; so likewise do people who have overcome mental distress through psychotherapy. Researchers have found that the human brain has a natural affinity for narrative construction.

During a standard life-story interview, people describe phases of their lives as if they were outlining chapters, from the sandlot years through adolescence and middle age. They flunked sixth grade but met a wonderful counselor and made honor roll in seventh. They were laid low by divorce, only to meet a wonderful new partner. 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. 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. 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. It is, rather more coyly, also about a man who died from a perforated colon after he arranged to have sex with a stallion. The cinematographer, Sean Kirby, has done some striking work here.

When a bank robber escapes from prison and goes on a violent crime spree, Malcolm is assigned to bring him in. 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.A Panglossian eternal teenager at heart, he is madly in love with his girlfriend, Doreen (Eva Mendes). With the decline of manufacturing and few formal jobs, many residents make a meager living off one another’s misery. 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. That DreamWorks ogre’s skin is the color of money after all.

He makes about $2 a day, and cannot afford to send his sons to school. 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. kommazone nospirits-archive888lists.ietf.orgmo But then again, so did my kids.)

" — 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." The director Robinson Devor apparently would like viewers who watch his heavily reconstructed documentary, “Zoo,” to see it as a story of ineluctable desire and human dignity. That DreamWorks ogre’s skin is the color of money after all. The current installment finds him faced with impending fatherhood and something of a career crisis.

(This may be why I liked it better than the others. Success may not have spoiled Mr.

But although Ice Cube's business sense is right on the money, the minor surprises of the first film are gone. The cinematographer, Sean Kirby, has done some striking work here. 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. He makes about $2 a day, and cannot afford to send his sons to school. 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. 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.

He said he worries they will end up as poor, illiterate traders like him. 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. The story this time unfolds as a series of increasingly dreary and teary melodramatic encounters regularly interrupted by special-effects-laden fights.

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.In this comedy, a cop assumes a new identity in his valiant battle against crime: an elderly grandmother. However, the house is owned by Big Momma (Ella Mitchell), an older woman with a sharp tongue and no patience for back talk, and when Big Momma has to leave town, it leaves her house suspiciously empty. Written by Luke Wilson, who directed with his older brother Andrew, it also stars a third brother, Owen, as Wendell’s nemesis. For my taste, a little goes a long way. 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.

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. “Younger kids see themselves in terms of broad, stable traits: ‘I like baseball but not soccer,’ ” said Kate McLean, a psychologist at the University of Toronto in Mississauga. In analyzing the texts, the researchers found strong correlations between the content of people’s current lives and the stories they tell. 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.

Any life story is by definition a retrospective reconstruction, at least in part an outgrowth of native temperament. They characterized their difficulty as if it were an outside enemy, often giving it a name (the black dog, the walk of shame). They find that one important factor is the perspective people take when they revisit the scene — whether in the first person, or in the third person, as if they were watching themselves in a movie. In a 2005 study reported in the journal Psychological Science, researchers at Columbia University measured how student participants reacted to a bad memory, whether an argument or failed exam, when it was recalled in the third person. He makes about $2 a day, and cannot afford to send his sons to school.

Will he take over his father-in-law’s business or remain true to his vocation of bellowing and smashing things? 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.

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. Determined to maintain his cover, Malcolm disguises himself as Big Momma, and now has to convince Sherry (and everyone else in the neighborhood) that Big Momma's still in town. Written by Luke Wilson, who directed with his older brother Andrew, it also stars a third brother, Owen, as Wendell’s nemesis. board gets something entirely different. Generous, civic-minded adults from diverse backgrounds tell life stories with very similar and telling features, studies find; so likewise do people who have overcome mental distress through psychotherapy. McAdams, a professor of psychology at Northwestern and author of the 2006 book, “The Redemptive Self.” “Well, we find that these narratives guide behavior in every moment, and frame not only how we see the past but how we see ourselves in the future.”

During a standard life-story interview, people describe phases of their lives as if they were outlining chapters, from the sandlot years through adolescence and middle age. In analyzing the texts, the researchers found strong correlations between the content of people’s current lives and the stories they tell. The pride of college graduation is spoiled when a friend makes a cutting remark.

Depending on the person, the story itself might be nuanced or simplistic, powerfully dramatic or cloyingly pious. We find that when it comes to the big choices people make — should I marry this person?