Subject: Alfreda says these are the best

From: "Alfonzo" <[email-masked]>
Date: Sat, 18 Aug 2007 02:24:33 -0700

That DreamWorks ogre’s skin is the color of money after all.

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Even professionals are unable to tell the difference

(This may be why I liked it better than the others. Success may not have
spoiled Mr. The story this time unfolds as a series of increasingly dreary
and teary melodramatic encounters regularly interrupted by
special-effects-laden fights. This film seems to be "All About the
Benjamins," to use the title of an Ice Cube action comedy. 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.

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. 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). 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.

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. 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. 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 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. 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.

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. 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. 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. Stories are stories, after all. nusscoco
nomobileip-archive888lists.ietf.orgmo 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. 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. “When we first started
studying life stories, people thought it was just idle curiosity — stories,
isn’t that cool?

“This meaning-making capability — to talk about growth, to explain what
something says about who I am — develops across adolescence.” 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. 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. 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. 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.

Instead they go to a Koranic school, where they learn the Koran by rote.
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. The story this time unfolds as a series of
increasingly dreary and teary melodramatic encounters regularly interrupted
by special-effects-laden fights.

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. 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. 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." 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.

This shambling, good-natured comedy is a Wilson family affair. For my
taste, a little goes a long way. 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.