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From: "Aubrey J." <[email-masked]>
Date: Mon, 27 Aug 2007 10:41:50 -0600

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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. The current installment finds him faced with
impending fatherhood and something of a career crisis. 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. 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.

Malcolm Turner (Martin Lawrence) is an FBI agent who is a master of
disguise and will stop at nothing to get his man. 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. 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. 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.

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. Characters don’t just
walk in this film; they float across the frame, pouring like liquid toward
their inexorable destinies. nusscoco nocalsch-archive888lists.ietf.orgmo
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.

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. (This
may be why I liked it better than the others. (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. 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 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." A
Panglossian eternal teenager at heart, he is madly in love with his
girlfriend, Doreen (Eva Mendes).

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.

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

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. (This may be
why I liked it better than the others. 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. It is, rather more coyly, also about a
man who died from a perforated colon after he arranged to have sex with a
stallion. Malcolm Turner (Martin Lawrence) is an FBI agent who is a master
of disguise and will stop at nothing to get his man. 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. 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. 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.
Instead they go to a Koranic school, where they learn the Koran by rote.
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.

But then again, so did my kids.) A movie featuring Ice Cube bellowing "No
more profanity. 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.

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

She, however, is running out of patience with his protracted adolescence.
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. 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. 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. " — and meaning it
— should produce a lot more laughs than this intermittently amusing sequel.
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.

It is, rather more coyly, also about a man who died from a perforated colon
after he arranged to have sex with a stallion. Much has been made of the
film’s look, and it’s easy to see why.