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Rampart Trailer

In the midst of the 1990's Rampart Scandal, Dave Brown works for the LAPD and is the most corrupt cop you're ever likely to meet. He is racist, homophobic and chauvinistic and that's just the tip of the iceberg. In his mind, he thinks he is an action hero and he has dedicated himself to doing 'the people's dirty work'. In his personal life, he has two ex-wives - both of them sisters - and has fathered two daughters between them.

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Rango Review

Inventive visuals and lively voice cast lift this finely animated film above the fray. So it's a shame that the story feels both random and predictable. It also uses 40-year-old references that younger viewers won't get.

When a pet chameleon (voiced by Depp) is lost in the desert, he wanders into Dirt, a parched Wild West town populated by scruffy, attitude-filled vermin. He immediately reinvents himself as the heroic Rango, and as sheriff promises to restore the missing water supply. He proves his mettle by squaring off against a vicious hawk, but the slippery tortoise Mayor (Beatty), a family of sneaky moles and a vicious rattlesnake (Nighy) will require more effort. As will his developing romance with feisty girl-lizard Bean (Fisher).

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Toy Story 3 Review

Pixar's keystone franchise takes on the tone of its more serious recent films (Wall-E and Up), mixing comedy, action and emotion in a way that's pure magic: we end up laughing, frightened and crying tears of both dismay and joy.

Andy (Morris) is getting ready to go to university, so the toys are preparing to be deposited in the attic. But a mix-up sees Woody (Hanks), Buzz (Allen) and pals sent instead to Sunnyside Daycare, an apparently happy place with no end of children to play with them. Except they're put in the terrible 2's room. And the leader of the Sunnyside toys, Lots-o-Huggin Bear (Beatty) is more like a prison warden. After a series of adventures, the toys must plot an elaborate escape.

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Rango Trailer

Rango is a chameleon who isn't particularly content living the life of the general chameleon, he sees himself as more of a hero figure, striving to protect those who need him; but when he finds himself in a western town called Dirt, Rango must start playing the role he's always dreamt of fulfilling, but once he's faced by bandits will he be able to keep up the charade?

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The Killer Inside Me Trailer

Lou Ford leads -what looks to be a pretty unremarkable existence, he's the deputy Sheriff of a small town but has two girlfriends one who works as a schoolteacher and the other a prostitute. When murders start happening in the sleepy West Texas town, no one is quite sure who's committing the murders. As investigators lean toward Lou as their prime suspect, he finds himself in a spiral of death as he struggles to clear his name. Things are never as they seem, the unassuming person the townsfolk thought they knew in Lou soon unravels and it becomes clear that all they were seeing was a facade.

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In The Electric Mist Review

French filmmaker Tavernier captures Louisiana with a remarkable eye. Even though the film meanders a bit, the skilful direction and camerawork combine with strong acting to create an engaging, insinuating thriller.

Dave (Jones) is a detective looking into the violent murder of a prostitute when movie star Elrod (Sarsgaard), filming nearby in a swamp, stumbles across the decades-old skeleton of a chained-up black man. In Dave's mind, the murders are linked, and as he questions a local mobster (Goodman), a partying investor (Beatty) and the film's director (Sayles), both cases get increasingly haunting. Dave also imagines that he sees a Confederate general (Helm) roaming the bayou around his house. And within this swirling mist, things start to make sense.

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Toy Story 3 Trailer

Watch the teaser trailer for Toy Story 3

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Wise Blood Review

John Huston's Wise Blood isn't bold-faced Americana. Rather, it is an alien planet of such thick perversity and everyday grotesqueries that one has to take pause and consider how close Mr. Huston's dystopia is to the American South. It is adapted from the fine first novel by Flannery O'Conner of the same name and it is the only time an American director has successfully translated the late O'Conner's haunting prose. Completed in 1979, it is also perhaps the most ballistic of Huston's late-period films.

Hazel Motes, played by Brad Dourif in a brilliant, physical performance, is a character John Huston would have had to create if O'Conner hadn't already written him. Aggressive and hissing like an angry cobra, Motes slithers his way into town from a stint in the army and begins yelling about a "Church Without Christ" that he will begin. He finds a believer in the young, brainless Enoch Emory (Dan Shor) who tells Hazel about the "wise blood" in his veins that tells him things no one else can hear.

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In The Electric Mist Review

This isn't the first time auteur director Bernard Tavernier has waded through the American south... though if you've even heard of (much less seen) his Mississippi Blues, give yourself a gold star.

In the Electric Mist -- my nomination for the worst-titled film since Quantum of Solace -- is likely destined to meet a similar fate. Despite star turns from Tommy Lee Jones, John goodman, Mary Steenburgen, and Peter Sarsgaard, Tavernier's rural Louisianan tale of murder, mobsters, and, er, dead Confederate soldiers, is a rocky affair that makes next to no sense at all.

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Charlie Wilson's War Review

Director Mike Nichols and screenwriter Aaron Sorkin made two exceedingly smart choices in adapting George Crile's book Charlie Wilson's War. First, they consented to a brisk 95-minute running time, rather than fall prey to the "prestige" mentality that can saddle such projects, and that bloats them out to beyond two hours. The other choice was leavening their material with a snappy, devil-may-care attitude -- a sure-fire strategy to skim over their story's weakest areas of story and character development.

Charlie Wilson's War is entertaining, and that's about the extent of it. Nichols and Sorkin's end result is decidedly a gloss on Crile's account of how the eponymous Texas congressman managed to supply military support to the Afghan Mujahideen fighting the Soviet occupation in the 1980s. While their movie mostly avoids the Hollywood trappings of political correctness and underdog sentimentality, it also doesn't have the chutzpah of its own conniving characters to offer much in the way of an incisive interpretation of those events.

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The Walker Review

There are several things being chatted and whispered about in the backrooms, parlors and bars of Paul Shrader's Washington but nothing distinctive. The closest to a controversy comes when a few specific so-and-sos ruminate about a possible conspiracy involving the vice president and a dead escort. These events, however, doesn't seem to matter much in the grand scheme of things, and that is both a good thing and a bad thing in Shrader's latest film, The Walker.

As is explained by a pair of FBI agents, a walker is the title given to men who escort women of great importance (and elderly age) from here to there in the ladies' leisurely days of lunching and shopping. Like other men in his profession, Carter Page III (Woody Harrelson) has the breeding and education that the career demands and his taste in fashion and furniture is impeccable; he's also a flagrant homosexual. He shuttles away from his one-day-a-week job as a real estate insider to meet up with the likes of Lynn Locklear (Kristin Scott Thomas), the wife of a senator, and Abigail Delorean (Lily Tomlin), the wife of Washington's most powerful fixer (Ned Beatty).

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Sweet Land Review

There are slow movies, and there is Sweet Land. Glacial in pace, the film's plodding plotting is purposeful: This is a lazy love story set in unhurried times (post-World War I Minnesota), when the only things one had to worry about were the bank foreclosing on the family farm and keeping those nasty, unprincipaled Germans out of the region.

In a vaguely present time, we meet old Inge (Lois Smith), mourning the dealth of husband Olaf. After much wringing of hands, she remembers back to the time of their meeting in 1920. Fresh of the boat from Deutschland, young Inge (Elizabeth Reaser) is picked up as a mail-order bride by young Olaf (Tim Guinee) and best pal Frandsen (Alan Cumming), and they head straight to the church to get married. When the preacher (John Heard) finds out she's German, he refuses to marry them. This becomes the central conflict of the film: Inge is shunned in town, can't return home, and can't live with Olaf out of wedlock (darn society!!!). They're soon both outcasts, and harvest time approaches...

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Shooter Review

As the hero of Shooter, Mark Wahlberg narrows his eyes into a piercing stare, delivers his bite-sized chunks of dialogue under his breath, and maintains a constant state of muscle flex so that each vein in his ropy arms sticks up like a speed bump on an elementary school driveway.

Wahlberg even boasts the ideal name: Bob Lee Swagger. The surname ensures he's all attitude. The fact that he goes by three monikers means he's a bona fide presidential assassin, situated in a class above Lee Harvey Oswald.

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Superman Review

Yeah, it was 1978 when Superman first hit theaters in the version most of us remember -- with Christopher Reeve as the Man of Steel and Marlon Brando as his disco-inspired pop. Superman is a lovable epic full of quaint nostalgia and incredible mysteries of logic (because if the earth spun the other way round, time would apparently reverse... riiiight). The story tells the bulk of the Superman legend -- his escape from Krypton, coming to terms with his powers as a youth in Smallville, moving to big old Metropolis and becoming Clark Kent (and falling for crusty Lois Lane), and dealing with a Lex Luthor (Gene Hackman, excellently over the top) plan to buy up real estate in Nevada and then destroy most of California, thus making his new coastline worth millions. Watch for Terence Stamp's Zod in the first scene -- he'll be back to rule as one of cinema's great villains in Superman II.

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Superman II Review

"Kneel before Zod."

Superman II had all the signposts of a disaster. Richard Donner, who shot much of the footage during the production of the first Superman, found himself forced away from the movie and replaced by Richard Lester, who claimed never to have heard of Superman before signing on to the franchise. To top it off, Marlon Brando sued to cut out all his scenes as Jor-El. And Gene Hackman was unavailable to shoot after Lester took the reins.

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