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The Little Prince Trailer


A Little Girl's Mother has high expectations of her daughter, given her own career success, and thus takes it upon herself to plan out her entire life, complete with a rigorous study and exercise schedule. The Little Girl agrees to knuckle down at first, but soon finds herself distracted by her peculiar elderly neighbour, The Aviator, who wishes to tell her the story of his encounter with The Little Prince - an other worldly being who lived on an astronaut before landing in the middle of a desert on Earth. The Little Girl is fascinated by the tale, and starts to understand what the most important things are in life, such as friendship. She starts to lament the idea of growing up and the idea of forgetting the significant things she understands as a child; that only the heart can give her a true vision in life.

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Cedars-Sinai Board of Governors to Honor Barbra Streisand and Robert Barth at The Beverly Hilton Hotel

Bud Cort, Sally Kellerman and Beverly Hilton Hotel - Bud Cort and Sally Kellerman Beverly Hills, California - Cedars-Sinai Board of Governors to Honor Barbra Streisand and Robert Barth at The Beverly Hilton Hotel Tuesday 8th November 2011

The Hollywood premiere of 'The Lovely Bones' held at Grauman's Chinese Theatre - Arrivals

Bud Cort and Sally Kellerman - Bud Cort and Sally Kellerman Los Angeles, California - The Hollywood premiere of 'The Lovely Bones' held at Grauman's Chinese Theatre - Arrivals Monday 7th December 2009

Harold and Maude Review


Excellent
One of the true cult classics. He's a 19 year-old kid obsessed with death, suicide, and the afterlife. She's an 80 year-old woman that "loves life." They meet at a funeral, and their adventures together begin. It's not quite a romance, not quite a buddy picture. It is, however, one of the '70s quirkiest comedies, and its bleak morbidity is uncommonly matched by its over-the-top hilarity. Bud Cort would soon become a cult icon for the next 30 years (and going).

The Life Aquatic with Steve Zissou Review


Good
In The Life Aquatic with Steve Zissou, one sees other actors besides Bill Murray - quite a lot of them, actually - but there are really no other performances to speak of. This is his movie, and everyone else, no matter how large a role they have, is really just a walk-on. Now, to your average filmgoer, this sounds like a fine thing, after all, one doesn't often say, "I would have liked that movie more if there'd been less Bill Murray." (Except Garfield.) Oddly enough, this film-long tribute to Murray, with a script lovingly crafted for his deadpan delivery by Wes Anderson (The Royal Tenenbaums) and Noah Baumbach (filmcritic.com favorite Kicking And Screaming), is replete with stabs of comedic genius but never quite takes off.

Murray ambles through his performance as oceanographer Steve Zissou, whose longtime partner was just eaten by a rare species of shark ("which may or may not exist") and is determined to set off on an expedition to find the shark and kill it. When asked what scientific purpose this would satisfy, Zissou gives an almost imperceptible shrug and says, "revenge." Much in the same way that Luke Wilson's Richie in The Royal Tenenbaums had long outlived his brief fame as tennis pro by the time the film started, in Life Aquatic, Zissou's best days are already behind him, and the film is littered with the detritus of his past glory, many of them '70s-style nostalgia items like a special edition tennis shoe or a pinball machine featuring his bearded visage. The funding for Zissou's increasingly poorly-received films is drying up, it looks like his wife is about to leave him, and there's a reporter nosing around asking painful questions. So Zissou's expedition - a half-assed, barely-planned affair - is much less a research trip than a has-been's last hurrah, a perpetually stoned Ahab hunting his white whale (or jaguar shark, in this case).

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The Million Dollar Hotel Review


Grim
Three words: Story by Bono.

Yikes! This marginal flick puts detective Mel Gibson in charge of investigating the murder of a billionnaire's son in a wacky hotel overrun by mental patients who can't afford the regular nut bin. And well, that's about all there is to tell, except that the title was once The Billion Dollar Hotel. That's a big downgrade.

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But I'm A Cheerleader Review


Grim
Take director John Waters and give him a really good actress like Natasha Lyonne, a paltry budget of, say, $1 million, and ask him to make a satire about a "gay rehab camp," and you might come up with something like But I'm a Cheerleader.

Then again, Waters might have come up with something funny, like Pecker. With such a meaty topic as Family Values ripe for a send-up, you'd think it would be easy to milk Cheerleader for comic value. Unfortunately, first-time feature director Jamie Babbit (whose few credits including directing the MTV series Undressed and acting as script supervisor on The Game) doesn't appear to have much ability behind the camera, which becomes painfully apparent after only a few minutes.

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The Big Empty Review


OK
If any film is destined to find a cult audience on DVD, it's The Big Empty.

For starters, it's literally crawling with cult-friendly stars, including Jon Favreau (Swingers), Joey Lauren Adams (Chasing Amy), Bud Cort (Harold and Maude), Jon Gries (Real Genius), Daryl Hannah (Kill Bill),and Rachael Leigh Cook (who seems to be making a living off of desert-based movies these days). Secondly, it's got message boards buzzing with fans asking a variation on one simple question: What the hell does it all mean?

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Pollock Review


Good
Please, please, please, please, please read the book that formed the basis of the movie Pollock. Jackson Pollock: An American Saga won the Pulitzer Prize for a good reason: It's a 934-page masterpiece that gets into the guts of the artist now being celebrated on celluloid by Ed Harris. Published in 1989 and written by Steven Naifeh and Gregory White Smith, the tome contains everything about Pollock that was left out of Harris' up-and-down movie -- and, unfortunately, that means 99 percent of the demons, doubters, friends, and forces that inspired Pollock to drink, paint, drink, and paint again.

A good example: Pollock was suicidal, maniacal and violent throughout his 44-year life. The first sentence of Naifeh's and Smith's book -- the very first sentence -- is this quote from Pollock: "I'm going to kill myself." Explains a lot, but for some odd reason, Harris only hints at Pollock's suicidal tendencies in his long-anticipated film.

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Brain Dead Review


Grim
Is Bill Pullman's brain doctor dead, alive, crazy, sane, what? This bit of Corman (his daughter, anyway) nuttiness has a couple of big pre-star stars in "the two Bills," and while it tries to be as clever and provocative as a movie like Jacob's Ladder, it ends up as inexplicable and inscrutable as Lost Highway... which oddly enough starred Pullman as well. I won't try to explain the plot (okay: brain doctor's brain goes bust), but I don't necessarily suggest you watch it, either.

Invaders from Mars Review


Terrible
Hunter Carson describes one of the titular invaders as "a giant Mr. Potato Head" and that's about as spot on a description you can get for the plasticine mind-suckers that come to earth to take over our hero's parents' brains. Unbearable special effects are the worst part of this remake of the 1953 classic; the rest of the movie is merely forgettable.

But I'm A Cheerleader Review


Weak

"But I'm a Cheerleader" is pure camp, from its often hammy acting to its candy-colored ambience to its plot about an in-crowd high schooler whose panicked suburban parents pack her away to retreat where sexually tilted teenagers are supposed to be "cured" of homosexual tendencies.

A social satire with a John Waters-inspired bent, the picture casts caustic Natasha Lyonne ("Slums of Beverly Hills") deliberately against type as a peppy-under-peer-pressure cheerleader who eats tofu, listens to Melissa Ethridge and is so indifferent to the drooling advances of her hunky super-jock boyfriend that her friends and Bible-beater family hold an intervention and confront her with the fact that they all think she must be a lesbian.

In spite of cheer-like protests, Lyonne is sent to a group home called True Directions, where effeminate boys in baby blue shirts and ties, and butch girls in crisp, pink Donna Reed attire are inundated with antiquated ideals about sex roles and encouraged to dry-hump inmates of the opposite sex by a staff of heavily in denial "reformed" gays.

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Pollock Review


OK

As an actor portraying the inner turmoil of Jackson Pollock -- the revolutionary abstractionist known for his splatter-and-drip painting style -- Ed Harris gives a commanding, potent performance in "Pollock" that is a torrential mix of the artist's chaotic talent and his more chaotic psyche.

As a director depicting Jackson Pollock's world, Ed Harris (yes, he did double-duty on this film) captures with vivid, lively authenticity both the astute yet pretentious buzz of the 1940s Manhattan art scene and his subject's tumultuous personal life, marked by hard drinking and a stormy long-term affair with fellow painter Lee Krasner (Marcia Gay Harden).

Together Ed Harris the actor and Ed Harris the director create an imposing, invigorating cinematic biography fueled by its subject's stubborn, manic energy and his strangely uncommunicative charisma.

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The Life Aquatic With Steve Zissou Review


OK

Steve Zissou is a washed-up Jacques Cousteau type suffering from an Ahab complex and middle-age ennui. His long-time first mate has just been eaten by the mysterious (and fictional) jaguar shark, and although his undersea documentaries haven't turned a profit in years, he's setting sail on one last low-budget oceanography adventure to make one last, rather out-of-character nature film -- about hunting down that shark if it's the last thing he does.

Another eccentric, buoyantly melancholy ensemble piece from wonderfully weird writer-director Wes Anderson ("Rushmore," "The Royal Tenenbaums"), "The Life Aquatic With Steve Zissou" is thick with the curious comedy of crew conflicts, researcher rivalries, laid-back shootouts with kidnapper pirates, and an outlandish underwater world teeming with colorfully imaginary stop-motion creatures created by Henry Selick ("The Nightmare Before Christmas").

But the movie's driving force is Anderson's signature sense of humor. The underlying (and unspoken) joke of this oddball farce is that it is transparently fake. Besides inventing an ocean full of fantastical life, the film is full of mischievous impossibilities, nonsense science, and cinematography designed to make it amusingly clear that the scenes onboard Zissou's run-down, retrofitted, World-War-II surplus sub-hunter ship are shot on a cut-away soundstage set.

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Bud Cort

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