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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. In a recent study presented at the annual meeting of the Society for Personality and Social Psychology in January, Mr. Yet Mr.Adler found that in fact those former patients who scored highest on measures of well-being — who had recovered, by standard measures — told very similar tales about their experiences. “The story is one of victorious battle: ‘I ended therapy because I could overcome this on my own,’ ” Mr.Adler said. The investigators found that the third-person scenes were significantly less upsetting, compared with bad memories recalled in the first person.

The emotional content of the memory is still felt, he said, but its sting is blunted as the brain frames its meaning, as it builds the story. Taken together, these findings suggest a kind of give and take between life stories and individual memories, between the larger screenplay and the individual scenes. Instead they go to a Koranic school, where they learn the Koran by rote. kommazone nosigtran-archive888lists.ietf.orgmo Will he take over his father-in-law’s business or remain true to his vocation of bellowing and smashing things?

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. 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. 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 cinematographer, Sean Kirby, has done some striking work here. Big Momma's House gained considerable pre-production publicity when Lawrence fell into a coma while jogging in a heat wave before the film's start date; Lawrence claimed that he was trying to lose weight to fit more comfortably into his character's "fat suit."

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. For my taste, a little goes a long way.

With the decline of manufacturing and few formal jobs, many residents make a meager living off one another’s misery. He makes about $2 a day, and cannot afford to send his sons to school. 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. With the decline of manufacturing and few formal jobs, many residents make a meager living off one another’s misery. 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.

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. 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."

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.

Big Momma's House gained considerable pre-production publicity when Lawrence fell into a coma while jogging in a heat wave before the film's start date; Lawrence claimed that he was trying to lose weight to fit more comfortably into his character's "fat suit." A Panglossian eternal teenager at heart, he is madly in love with his girlfriend, Doreen (Eva Mendes). This shambling, good-natured comedy is a Wilson family affair. They have largely ignored the first-person explanation — the life story that people themselves tell about who they are, and why. Stories are stories, after all. 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.

(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 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. It is, rather more coyly, also about a man who died from a perforated colon after he arranged to have sex with a stallion.

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. That DreamWorks ogre’s skin is the color of money after all. This film seems to be "All About the Benjamins," to use the title of an Ice Cube action comedy. 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. (This may be why I liked it better than the others. 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 thief's girlfriend Sherry (Nia Long), who is also the mother of his child, lives in a small Southern town, and Malcolm plans to set up a stake-out in the house across the street from Sherry's.

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. (This may be why I liked it better than the others. But then again, so did my kids.)

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. 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.

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 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. 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. 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. For my taste, a little goes a long way. They have largely ignored the first-person explanation — the life story that people themselves tell about who they are, and why.

Stories are stories, after all. He said he worries they will end up as poor, illiterate traders like him. 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. 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.