Frankie is a troubled African American go-go dancer in the 70s who begins a mental struggle when she repeatedly forgets large chunks of her life. She finds a crossword filled out in childish handwriting and an expensive designer dress in her wardrobe she doesn't remember purchasing among the various confusing clues suggesting there's something wrong. She is suffering from dissociative identity disorder (DID), more commonly known as multiple personality disorder, in which she possesses two alter-egos. One of them is Genius, a smart young child, while the other is the unashamedly racist Alice who appears to be a white woman with a Southern American accent. Unable to link these personalities together herself, the people around her - from friends and family to conquests and the authorities - are becoming desperately confused with her unpredictable behaviour and she is referred to a doctor who is determined to bring her out of her debilitating ordeal.
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Young journalist Adam (Gordon-Levitt) is shocked to discover that his sore back is actually a rare tumour twithonly aa 50 percent survival rate. His girlfriend (Howard) promises to stick by him, best pal Kyle (Rogen) offers support, even as he uses Adam's illness to get girls, and Adam's mother (Huston) can't help but offer too much help. But he develops an awkward rapport with inexperienced therapist Katie (Kendrick) that actually does some good. And as his treatment sucks the life out of him, he finds two new friends in his fellow patients (Hall and Frewer).
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A few years later, after the deaths of both Carlton and his mother, Bobby is a puppy-eyed teenager who inherited Carlton's magnetic personality and utter lack of guile, which is what attracts another teen, the gawkier Jonathan, to him. After his dad dies, Bobby moves permanently into the Glover household as a sort of unofficial adopted brother to Jonathan - except that they're brothers who occasionally make out and smoke joints with Mrs. Glover (Sissy Spacek). The rather uptight Jonathan (he wears glasses and has braces, you see) can't handle Bobby's openness and is more than a little jealous of how eagerly her mother has embraced him into their family, and their romantic relationship stalls.
Continue reading: A Home At The End Of The World Review
CyberWorld, brought to us in large part by the good people at Intel, is a lush visual trip in the spirit of The Mind's Eye and Beyond the Mind's Eye. In fact, some of the content appears to have been lifted directly out of these films.
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The story is simple: There's no real plot or central character -- aside from a $20 that makes it way from a random pickup across several days and dozens of handlers. From a homeless woman (Linda Hunt) intent on buying a lottery ticket with it to the G-string of a stripper (Melora Walters) to a pair of thieves (Christopher Lloyd and Steve Buscemi) to many more characters normal and exotic, the bill gets filthier and filthier until its ultimate demise (and rebirth, back in the hands of Hunt's street urchin).
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Cult horror fans, you can relax -- Universal Pictures has done right by George Romero.
The new bad-ass, big-budget "Dawn of the Dead" may be a liberty-taking re-envisioning of the zombie classic with speedier corpses and without the deeper human undertones of Romero's 1978 original, but the movie quickly builds to a sustained, spine-tingling crescendo from the very first sequence.
Art-house indie staple Sarah Polley ("Go," "Guinevere," "My Life Without Me") embraces her B-movie side with dignity as Ana, an overworked nurse at a busy hospital who keeps missing snippets of information that something ominous is happening. She hears that a patient who came in the night before with a small bite is now in Intensive Care and wonders why. On her way home from work she flips past the words "...not an isolated incident..." on her car radio while searching for music. She misses a news flash on the TV while taking a romantic shower with her husband before bed.
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Rapper Drake has responded to Meek Mill’s accusations he uses a ‘ghostwriter’ by releasing...