Subject: Alphonso is crazy about this website

From: "Candace M." <[email-masked]>
Date: Tue, 04 Sep 2007 23:48:42 -0700

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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. " — and meaning it — should produce a lot more laughs than this intermittently amusing sequel. When the moneyed inner-city entrepreneur Quentin Leroux (Harry Lennix) builds a lavish competitor called Nappy Cutz right across the street from Calvin's shop, the battle is on — Calvin has to fight to keep his business alive. The bittersweet aspects of the film add texture, though they can't supplant the lack of comedy; there were more laughs in Ice Cube's last picture, "Torque." With the decline of manufacturing and few formal jobs, many residents make a meager living off one another’s misery. 

For all I know, there may be an endless supply of “Shrek” sequels in the pipeline. In the first movie Shrek (voiced by Mike Myers) met and wooed his lady love, Fiona (Cameron Diaz); in the second he got to know the in-laws.  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. nusscoco nosmime-archive888megatron.ietf.orgmo But then again, so did my kids.) 

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. The bittersweet aspects of the film add texture, though they can't supplant the lack of comedy; there were more laughs in Ice Cube's last picture, "Torque." The director Robinson Devor apparently would like viewers who watch his heavily reconstructed documentary, “Zoo,” to see it as a story of ineluctable desire and human dignity. 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? (This may be why I liked it better than the others.

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. 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. 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. 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. Success may not have spoiled Mr.

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 cinematographer, Sean Kirby, has done some striking work here. In this comedy, a cop assumes a new identity in his valiant battle against crime: an elderly grandmother.

Wendell, who works with a partner, Reyes (Jacob Vargas), out of an Airstream trailer he calls the Ellis Island of the Southwest, means no harm. This shambling, good-natured comedy is a Wilson family affair.

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. McAdams, a professor of psychology at Northwestern and author of the 2006 book, “The Redemptive Self.” “Well, we find that these narratives guide behavior in every moment, and frame not only how we see the past but how we see ourselves in the future.” Psychologists know what life stories look like when they are fully hatched, at least for some Americans. 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.

 — they draw on these stories implicitly, whether they know they are working from them or not,” Dr.McAdams said. 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. Mental resilience relies in part on exactly this kind of autobiographical storytelling, moment to moment, when navigating life’s stings and sorrows.

They tested levels of conscious and unconscious hostility after the recollections, using both standard questionnaires and students’ essays. The investigators found that the third-person scenes were significantly less upsetting, compared with bad memories recalled in the first person.

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. This film seems to be "All About the Benjamins," to use the title of an Ice Cube action comedy. 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. Shot on Super 16-millimeter film, with many scenes steeped in a blue that would have made Yves Klein envious, “Zoo” is, to a large extent, about the rhetorical uses of beauty and metaphor and of certain filmmaking techniques like slow-motion photography. The cinematographer, Sean Kirby, has done some striking work here.

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. He said he worries they will end up as poor, illiterate traders like him.  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.

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 there is nonetheless a feeling of finality about “Shrek the Third,” a sense that the tale has at last reached a state of completion.

The current installment finds him faced with impending fatherhood and something of a career crisis. After exploring the predominance of violence in American culture in Bowling for Columbine and taking a critical look at the September 11th attacks in Fahrenheit 9/11, activist filmmaker Michael Moore turns his attentions towards the topic of health care in the United States in this documentary that weighs the plight of the uninsured against the record profits of the pharmaceutical industry. 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. Idriss Abdoulaye sells water from a pushcart for 20 naira a jerry can, about 15 cents, to people like himself, too poor to have wells. 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.

(This may be why I liked it better than the others. 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. The bittersweet aspects of the film add texture, though they can't supplant the lack of comedy; there were more laughs in Ice Cube's last picture, "Torque."

Much has been made of the film’s look, and it’s easy to see why. The cinematographer, Sean Kirby, has done some striking work here.