James Bond, the legendary MI6 spy we all know and love, is starting to struggle with his own morality in terms of his government job. A psychiatrist notices his unhealthy associations with bits of his career which puts doubts in his future capability. In addition to that, his trust in his boss M is put to the test as her past starts to creep back up on her. MI6 is then place under threat by a nefarious villain known as Raoul Silva. Though, with 007 questioning his own loyalty to the government, just how far is he willing to go to protect it?
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The CIA is confronted with the consequences of previous events that have taken place involving Jason Bourne. They decide that they must shut down Operation Outcome (the subsequent operation to Operation Treadstone) which will involve the assassination of Outcome agent Aaron Cross and Doctor Stephanie Snyder who helped produce the agents. They must find an escape or be killed.
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James Bond struggles with his career, experiencing lassitude and depression concerning his MI6 role as becomes clear when he is analysed by a government psychiatrist. His allegiance to MI6 chief M is put to the test when secrets from her past come back plague her. The secret service organisation becomes under serious threat and it is safe to assume that villain Raoul Silva is behind it all. How far will agent 007 go this time to eliminate the threat?
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The man in question is Andy (Philip Seymour Hoffman), a pudgy volcano of a corporate hustler with a trophy wife. Gina (Marisa Tomei) fits that role to a T as she spends Andy's money and enjoys mid-day quickies with Andy's brother Hank (Ethan Hawke). Hank's money goes towards his ex-wife (a great Amy Ryan) and daughter while Andy's cash, when not with Gina, is spent on heroin in the très chic twentieth-floor apartment of his dealer in Manhattan. The boys need dough and their bourgeois office jobs aren't keeping it coming in. That's when Andy gets the idea.
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Coming off last year's abysmally underrated United 93, director Paul Greengrass thankfully returns for his second film in the series about the titular amnesiac CIA-trained assassin (Matt Damon) with identity issues. Although the resulting film is not nearly up to the hard-to-match bar set by the preceding film, The Bourne Supremacy, it's hard to imagine any other director currently working who would be able to keep the relentless pace delivered by Ultimatum. Unfortunately, it's also all too easy to see that the filmmakers and Damon are coasting when they could be soaring.
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Case in point is Saturday Night and Sunday Morning, in which a young and virile Albert Finney stars as Arthur Seaton, a thoroughly disillusioned cynic who toils over a metal lathe in an infernal factory and waits for the weekend, when he heads out for two solid days of drinking and womanizing, hoping Monday never comes.
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Make no mistake: Amazing Grace is not a complex movie. The good guys are good and the bad guys aren't so much bad as they are yet to become good. Such a simple and optimistic moral vision may seem antiquated to some, but Amazing Grace doesn't apologize for its old-fashioned piety. As the action starts, Wilberforce (Ioan Gruffudd) undergoes a religious conversion. His long-abandoned childhood faith has once again stirred his heart and moved him to commit to doing whatever he can to improve the world. Already a member of Parliament, he asks several of his friends -- including the clergyman John Newton (Albert Finney), who wrote the hymn "Amazing Grace" -- if he should continue his political career or move on to a more spiritual pursuit. At all of his friends' urging, Wilberforce chooses politics and not long after takes an unpopular stand on the issue that will dominate his political career thereafter: the slave trade.
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Albert Finney is a popular plastic surgeon and business is great. Thing is, some of his models start turning up dead and, naturally, there's a conspiracy afoot. One that involves digitized people, high-tech guns (the Lookers of the title or Light Ocular Oriented Kinetic Energetic Responsers), and big business. Susan Dey play Cindy (and doffs every stitch of clothing), a model who wants perfection to get a modeling contract with the ominous sounding Digital Matrix. James Coburn plays the tycoon behind Digital Matrix and like all tycoons he's thoroughly bad.
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In the film, Bloom's grown son, Will (Billy Crudup) is tired of the imaginative stories his dad has told him since he was young, and decides to only communicate with his mom (Jessica Lange). But, as the elder Bloom approaches the end of his life, Will puts aside his differences and chooses to find the truth behind all the stories in hopes of learning more about his dad. The only way Will knows how to find the answers he seeks is to retell the stories and let us be the judge.
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