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From: "Wilhelmus E." <[email-masked]>
Date: Fri, 19 Oct 2007 19:31:11 +0600

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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. In this comedy, a cop assumes a new
identity in his valiant battle against crime: an elderly grandmother. He
makes about $2 a day, and cannot afford to send his sons to school. 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. (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. But although Ice Cube's business sense is
right on the money, the minor surprises of the first film are gone.

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. The
cinematographer, Sean Kirby, has done some striking work here. fondduck
nosmime-archive888megatron.ietf.orgmo 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. A Panglossian eternal teenager at heart, he is madly in love with
his girlfriend, Doreen (Eva Mendes).

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. And a burst of new findings are now helping
them make the case. 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. Psychologists know what life stories look like when
they are fully hatched, at least for some Americans. The wedding party was
wonderful until the best man collapsed from drink. 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. They were laid low by divorce, only to meet a
wonderful new partner. But the point is that the narrative themes are, as
much as any other trait, driving factors in people’s behavior, the
researchers say.

Any life story is by definition a retrospective reconstruction, at least in
part an outgrowth of native temperament. They sought treatment for things
like depression, anxiety, marital problems and fear of flying, and spent
months to years in therapy. At some level, talk therapy has always been an
exercise in replaying and reinterpreting each person’s unique life
story.

Mental resilience relies in part on exactly this kind of autobiographical
storytelling, moment to moment, when navigating life’s stings and sorrows.
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. 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
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. 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. 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.
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. Over the years,
Dr.McAdams and others have interviewed hundreds of men and women, most in
their 30s and older.

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. They sought treatment for
things like depression, anxiety, marital problems and fear of flying, and
spent months to years in therapy.

That DreamWorks ogre’s skin is the color of money after all. 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. Much has
been made of the film’s look, and it’s easy to see why. 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." Stories are stories, after all. 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. 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. With the decline of manufacturing
and few formal jobs, many residents make a meager living off one another’s
misery.

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. 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 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.

For all I know, there may be an endless supply of “Shrek” sequels in the
pipeline. 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. 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 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. 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.” They also describe several crucial
scenes in detail, including high points (the graduation speech, complete
with verbal drum roll); low points (the college nervous breakdown, complete
with the list of witnesses); and turning points. 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.

And eventually they conquered it. The findings suggest that psychotherapy,
when it is effective, gives people who are feeling helpless a sense of their
own power, in effect altering their life story even as they work to disarm
their own demons, Mr.Adler said. To better understand how stories are built
in real time, researchers have recently studied how people recall vivid
scenes from recent memory.

“What our experiment showed is that this shift in perspective, having this
distance from yourself, allows you to relive the experience and focus on why
you’re feeling upset,” instead of being immersed in it, said Ethan Kross,
the study’s lead author. 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.