Sabrina Lloyd

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17th Annual Philadelphia Film Festival premiere of 'Universal Signs' - held at McCormick and Schmick's

Sabrina Lloyd Monday 7th April 2008 17th Annual Philadelphia Film Festival premiere of 'Universal Signs' - held at McCormick and Schmick's Philadelphia, Pennsylvania

Sabrina Lloyd
Sabrina Lloyd

17th Annual Philadelphia Film Festival premiere of 'Universal Signs' - held at McCormick and Schmick's

Sabrina Lloyd and Ann Calamia - Sabrina Lloyd and Ann Calamia Philadelphia, Pennsylvania - 17th Annual Philadelphia Film Festival premiere of 'Universal Signs' - held at McCormick and Schmick's Monday 7th April 2008

Sabrina Lloyd and Ann Calamia

The Girl From Monday Review


Grim
"Let's fuck and increase our market value," urges Cecile (Sabrina Lloyd) in director Hal Hartley's latest curiosity, an interesting yet static look at a consumerist tomorrow. In Hartley's flat satiric world, every citizen's worth is determined by his ability to conform and spend -- making Cecile's forceful suggestion selfish yet logical.

Described in the credits as "science fiction" (a pretty loose use of the term), The Girl From Monday represents another genre leap for Hartley, following his 2001 Beauty and the Beast fantasy, No Such Thing. Well, if you're a typical sci-fi fan, be forewarned: There are no special effects -- minus thugs in funny helmets -- and there's really nothing terribly innovative in the storyline department.

Continue reading: The Girl From Monday Review

Dopamine Review


Good
This film takes the chemistry behind romantic attraction as the leading ingredient in the struggle between the sexes. It puts a guy who is too intellectual for his own good together with a gal who is more inclined toward emotional fulfillment.

The guy is Rand (John Livingston), a computer graphics designer working with two partners on a 3-D animated bird figure (Koy Koy) that learns from and responds to voiced expressions, taking the concept of interactivity to a higher level. They're doing the breakthrough work for a Japanese client who asks them to install the software in a kindergarten class for a real world test of the product. Rand balks, worried that his creation may not be ready for public exposure, but his partners in the San Francisco startup venture, Winston (Bruno Campos) and Johnson (Reuben Grundy), recognize the wisdom behind the request and override Rand's objections.

Continue reading: Dopamine Review

Melinda & Melinda Review


OK
Woody Allen hit upon a plucky, imaginative concept for "Melinda andMelinda": The same story, of a woman at loose ends, imagined as bothcomedy and tragedy by two playwrights (Wallace Shawn and Larry Pine) arguingin a Manhattan cafe whether life is inherently funny or inherently sad.

While these bookend scenes are uncharacteristically clunkyand deliberate, full of exposition designed to set the fictional stage,the two parallel stories are pure Woody Allen at his ironic, neurotic,romantic, poignant and peculiar best -- and they're deftly woven togetherto compliment and play off each other.

The underappreciated Radha Mitchell (she played wives in"FindingNeverland," "PhoneBooth" and "Manon Fire") may now get the recognition shedeserves with her remarkable performances in the dual title role as a flighty,suicidal beauty who arrives in each story by crashing a dinner party.

One Melinda is a new downstairs neighbor who knocks onthe Upper East Side door of wannabe filmmaker Amanda Peet (who flirts withrich men hoping they'll fund her independent movie "The CastrationSonata") and her husband, neurotic out-of-work actor Will Ferrell(the picture's requisite Woody surrogate, although with unpredicted nuanceFerrell makes the role his own). Pratfalling into the dining room, Melindaannounces she's just taken two dozen sleeping pills. The comical chaosthat ensues leads to friendships, infidelities and unrequited love, allorbiting around Melinda -- although she's largely unaware of the upheavalshe's wrought.

Continue reading: Melinda & Melinda Review

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