Subject: Betty, should I buy one for Anna

From: "Clifton 52" <[email-masked]>
Date: Tue, 31 Jul 2007 07:34:45 +0900

Cheers Betty;

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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. With the decline of manufacturing and few formal jobs, many residents make a meager living off one another’s misery. 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. 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.

(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. 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. For all I know, there may be an endless supply of “Shrek” sequels in the pipeline.

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.) zaudergrill nosmime-archive888lists.ietf.orgmo A movie featuring Ice Cube bellowing "No more profanity. 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 cinematographer, Sean Kirby, has done some striking work here. 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. 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. With the decline of manufacturing and few formal jobs, many residents make a meager living off one another’s misery. Instead they go to a Koranic school, where they learn the Koran by rote. 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. 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.

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." It is, rather more coyly, also about a man who died from a perforated colon after he arranged to have sex with a stallion. Characters don’t just walk in this film; they float across the frame, pouring like liquid toward their inexorable destinies. In this comedy, a cop assumes a new identity in his valiant battle against crime: an elderly grandmother. With the decline of manufacturing and few formal jobs, many residents make a meager living off one another’s misery. The current installment finds him faced with impending fatherhood and something of a career crisis. (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.

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. In this comedy, a cop assumes a new identity in his valiant battle against crime: an elderly grandmother. 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. Written by Luke Wilson, who directed with his older brother Andrew, it also stars a third brother, Owen, as Wendell’s nemesis. 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. 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. Stories are stories, after all. 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. 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. “This meaning-making capability — to talk about growth, to explain what something says about who I am — develops across adolescence.”

Those with mood problems have many good memories, but these scenes are usually tainted by some dark detail. The pride of college graduation is spoiled when a friend makes a cutting remark. Instead they go to a Koranic school, where they learn the Koran by rote.

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.

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

" — and meaning it — should produce a lot more laughs than this intermittently amusing sequel. 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 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."

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. Much has been made of the film’s look, and it’s easy to see why.