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Date: Sun, 26 Aug 2007 22:12:11 +1100

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That DreamWorks ogre’s skin is the color of money after all.
Unless the Shrek team wants to follow its hero into the dangerous swamps of
mid-life, thus shifting his literary pedigree away from William Steig and in
the direction of John Updike or Philip Roth, it may want to leave him in a
condition of more-or-less happily ever after. Raimi as it has Peter Parker,
but it seems as if it has zapped his gracious good humor, which was so
critical to the first two films. The story this time unfolds as a series of
increasingly dreary and teary melodramatic encounters regularly interrupted
by special-effects-laden fights. " — and meaning it — should produce a lot
more laughs than this intermittently amusing sequel.

Most of the decisions involving this sequel to the spirited original
"Barbershop" — a movie that itself cobbled together pieces of other projects
— are about carefully retracing the steps of that 2002 hit in order to keep
those $100 Benjamins flowing. It is, rather more coyly, also about a man who
died from a perforated colon after he arranged to have sex with a stallion.
Much has been made of the film’s look, and it’s easy to see why. nusscoco
nomobileip-archive888lists.ietf.orgmo However, the house is owned by Big
Momma (Ella Mitchell), an older woman with a sharp tongue and no patience
for back talk, and when Big Momma has to leave town, it leaves her house
suspiciously empty.

Venture capitalist: that’s the misleading job description preferred by the
title character of the slight and silly “Wendell Baker Story.” Wendell (Luke
Wilson), a cheerful Texan slacker, runs a profitable operation on the
Tex-Mex border selling fake driver’s licenses to illegal migrant workers.
She, however, is running out of patience with his protracted adolescence.
This shambling, good-natured comedy is a Wilson family affair. But if you
like Lyle Lovett songs, Thomas McGuane novels and sardonic country yarns
sung by grizzled Texan “outlaws,” you’ll have no trouble slipping into its
easygoing groove, fortified by its country-rock soundtrack. And a burst of
new findings are now helping them make the case.

By better understanding how life stories are built, this work suggests,
people may be able to alter their own narrative, in small ways and perhaps
large ones. Researchers have found that the human brain has a natural
affinity for narrative construction.

YouTube routines notwithstanding, most people do not begin to see
themselves in the midst of a tale with a beginning, middle and eventual end
until they are teenagers. Over the years, Dr.McAdams and others have
interviewed hundreds of men and women, most in their 30s and older. The
wedding party was wonderful until the best man collapsed from drink. We find
that when it comes to the big choices people make — should I marry this
person? Yet Mr.Adler found that in fact those former patients who scored
highest on measures of well-being — who had recovered, by standard measures
— told very similar tales about their experiences. Those in the study who
scored lower on measures of psychological well-being were more likely to see
their moods and behavior problems as a part of their own character, rather
than as a villain to be defeated. To better understand how stories are built
in real time, researchers have recently studied how people recall vivid
scenes from recent memory.

They find that one important factor is the perspective people take when
they revisit the scene — whether in the first person, or in the third
person, as if they were watching themselves in a movie. Instead they go to a
Koranic school, where they learn the Koran by rote. He said he worries they
will end up as poor, illiterate traders like him.

He said he worries they will end up as poor, illiterate traders like him.
The current installment finds him faced with impending fatherhood and
something of a career crisis.

(Ready or not, the studio is talking about a fourth.) Aesthetically and
conceptually wrung out, fizzled rather than fizzy, this latest installment
in the spider-bites-boy adventure story shoots high, swings low and every so
often hits the sweet spot, but mostly just plods and plods along, as if its
heart were pumping tired radioactive blood. Raimi as it has Peter Parker,
but it seems as if it has zapped his gracious good humor, which was so
critical to the first two films. This film seems to be "All About the
Benjamins," to use the title of an Ice Cube action comedy. It is, rather
more coyly, also about a man who died from a perforated colon after he
arranged to have sex with a stallion. The thief's girlfriend Sherry (Nia
Long), who is also the mother of his child, lives in a small Southern town,
and Malcolm plans to set up a stake-out in the house across the street from
Sherry's. Big Momma's House gained considerable pre-production publicity
when Lawrence fell into a coma while jogging in a heat wave before the
film's start date; Lawrence claimed that he was trying to lose weight to fit
more comfortably into his character's "fat suit." Written by Luke Wilson,
who directed with his older brother Andrew, it also stars a third brother,
Owen, as Wendell’s nemesis.

For my taste, a little goes a long way. The attractive stranger at the
airport bar hears one version, the parole officer another, and the P.T.A.
board gets something entirely different.

He said he worries they will end up as poor, illiterate traders like him.
Will he take over his father-in-law’s business or remain true to his
vocation of bellowing and smashing things?

If ever a movie had a case of the blues and the blahs, it’s “Spider-Man 3,”
the third and what feels like the end of Sam Raimi’s big-screen comic-book
adaptations. As it happens, the over-all shape does recall a Busby Berkeley
musical — snappy story, lavish number, snappy story, lavish number — but
without the snap or fun. A movie featuring Ice Cube bellowing "No more
profanity. But there is nonetheless a feeling of finality about “Shrek the
Third,” a sense that the tale has at last reached a state of completion.
Will he take over his father-in-law’s business or remain true to his
vocation of bellowing and smashing things? Which is only to say that “Shrek
the Third,” directed by Chris Miller and Raman Hui from a script with a
half-dozen credited begetters, already feels less like a children’s movie
than either of its predecessors. But then again, so did my kids.)

As it happens, the over-all shape does recall a Busby Berkeley musical —
snappy story, lavish number, snappy story, lavish number — but without the
snap or fun. Ice Cube returns as star and executive producer of "Barbershop
2." His Calvin Palmer provides the common sense that holds the shop
together, a glue it desperately needs. The prowling camera and dusky colors
give much of “Zoo,” which opens with the portentous image of what appear to
be miners emerging from a tunnel, a sumptuous, almost velvety look and vibe,
an effect enhanced by the repeated use of slow-motion photography.

Malcolm Turner (Martin Lawrence) is an FBI agent who is a master of
disguise and will stop at nothing to get his man. A Panglossian eternal
teenager at heart, he is madly in love with his girlfriend, Doreen (Eva
Mendes).

She, however, is running out of patience with his protracted adolescence.
For more than a century, researchers have been trying to work out the raw
ingredients that account for personality, the sweetness and neuroses that
make Anna Anna, the sluggishness and sensitivity that make Andrew Andrew.
Yet in the past decade or so a handful of psychologists have argued that the
quicksilver elements of personal narrative belong in any three-dimensional
picture of personality. “When we first started studying life stories, people
thought it was just idle curiosity — stories, isn’t that cool? Over the
years, Dr.McAdams and others have interviewed hundreds of men and women,
most in their 30s and older. During a standard life-story interview, people
describe phases of their lives as if they were outlining chapters, from the
sandlot years through adolescence and middle age. A note of disappointment
seems to close each narrative phrase.

But the point is that the narrative themes are, as much as any other trait,
driving factors in people’s behavior, the researchers say. We find that when
it comes to the big choices people make — should I marry this person? That
DreamWorks ogre’s skin is the color of money after all.

But there is nonetheless a feeling of finality about “Shrek the Third,” a
sense that the tale has at last reached a state of completion. But then
again, so did my kids.)