It's not that Extreme Ops is just a bad movie... if you go by the books it isn't the worst it can be. It's that the movie, despite being about stunts, terrorists, sex, and extreme sports, doesn't have enough energy to turn on a light bulb. Extreme Ops has all the power of a Tide commercial. It has all the chemistry of a vat of acid. It has all the excitement of eating oatmeal. Extreme Ops is so slow it's the antidote to amphetamines.
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Seth (French Stewart), a TV sitcom writer, meets a wonderful girl named Chelsea (Bridgette Wilson). She's beautiful, sweet, kind and completely psycho. When she starts pressuring him towards marriage, Seth tries to distance himself. To Seth's surprise, (the audiences forethought) she won't take no for an answer. Conflict swells and the two become enemies. Here begins a trail of predictable sequences, showing the two getting even with one another.
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Instead, it's pretty much a copy of all the other haunted-house horror movies that have run briefly in theaters over the years (and then run on cable channels indefinitely, giving teenagers something to stare at for a minute or two before leaving the house or switching channels). I understand that the beast of cable programming must be fed, but I still don't understand why directors are still making new movies like this, given the thousands that have already been made. Why don't the cable channels just run old ones from the late 1980s that nobody remembers?
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Irony is the central force of Field's representative pageantry, and in the tradition of Drop Dead Gorgeous, it is no disappointment. But this is also a human story, about women in search of identity and belonging.
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It's eight years later, and Poiré has directed another small comedy about two 12th century Frenchmen (hmm, played by Jean Reno and that same popular French guy) who are mistakenly transported to Chicago 2000. Hey, wait a minute!
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Jennifer Lopez must have an iron stomach to have been able to read even the first five pages "The Wedding Planner" script without losing her lunch.
After a Vaseline-lensed prologue flashback showing a little girl playing wedding with Ken and Barbie, the first scene of this saccharinely half-witted, cutesy-poo, allegedly romantic alleged comedy finds a Miss Lonelyhearts wedding coordinator (Lopez) calmly delivering a client's nuptials from the jaws of chaos.
With a counterfeit Tinkerbell twinkle in her eye and a fairy dust spring in her step, she reassures a nervous bride with an insincere go-get-'em speech, produces a clothespin to save a bridesmaid from a cleavage crisis and sobers up the father of the bride, all the while dictating this and that detail to subordinates through an ear-piece walkie-talkie.
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"Beautiful" is such a sappy, pandering, overly sincere, paint-by-numbers feel-good movie it's almost a surprise Robin Williams doesn't play its central character, an absurdly determined wannabe beauty queen.
OK, so Robin Williams is far too hairy to pass as a beauty contestant and he isn't even female. But that's never stopped him before.
Instead it's Minnie Driver who swallows her pride for the role of this repellantly shallow and insecure outcast from a broken white-trash home, who takes 15 years to learn a trite Sunday school lesson about how there are more important things in life than being pretty.
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'House' star Laurie received star number 2,593 on the Hollywood Walk of Fame this week.
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