Great Hollywood movies and total economic collapse have a long and symbiotic history.
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All you need to know about “Pride and Glory,” which stars Edward Norton, Colin Farrell, Noah Emmerich and Jon Voight as a family of cops, is contained within the first few scenes.
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“Synecdoche, New York,” screenwriter Charlie Kaufman’s wildly ambitious directorial debut, recalls the Jorge Luis Borges story in which the imperial cartographers make a map of the empire so detailed and true-to-life that it takes on the exact dimensions of the territory and ends up covering it entirely.
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The clamped-down residents of the frozen Swedish suburb in which “Let the Right One In” takes place carry their alienation so staunchly, even cheerfully, that it comes as a surprise when they actually bleed.
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When the cousin of Southern-born, New York-based film critic Godfrey Cheshire decides to transplant their family plantation to a less trafficked location, Cheshire decides to document the move.
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I get why Dakota Fanning keeps getting offered these motherless waif roles in Southern-fried melodramas.
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Steven Sebring’s “Patti Smith: Dream of Life” is a dream of a movie; gauzy, free-associative and reverberant.
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It’s not until the last few minutes of “What Just Happened” that the film’s title is posed as a question, not by the protagonist but by his ex-wife.
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Some people feel most at home burrowing in the depths of other people’s pain, and Jason Ritter’s unnamed character in Marianna Palka’s “Good Dick” is clearly one of those people.
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In Fernando Meirelles’ land of the blind, the one-eyed man isn’t king – the morally degenerate opportunist is.
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