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Gia

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Gia
America's first supermodel Gia Carangi lives hard and dies young in the glamorous, excessive urban wilds of 1970s New York City. Adapted by Cristofer and novelist Jay McInerney from the biography "Thing of Beauty" by Stephen Fried. Made for HBO. Available in rated and unrated versions.

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A reputedly faithful cinematic depiction of the historical events of Caligula's Rome, including the decadence and debauchery that marked his reign. This notorious release has faced rather hysterical hostility from would-be censors. Financed by Penthouse Magazine magnate Bob Guccione, who was accused of inserting hardcore sex scenes after completing photography with the impressive and esteemed cast of British actors. Contains graphic sex and violence. The R-rated version is shorter by 53 minutes!

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Best known for playing muse to Andy Warhol, Edie Sedgwick was a dazzling young socialite who found herself at the apex of the pop art scene in 1960s New York. In FACTORY GIRL, Sienna Miller is the enchanting, enigmatic Edie, offering a moving characterization of the extremely troubled model/actress. The film kicks off as Edie, the daughter of a well-to-do horse rancher, leaves art school and moves to Manhattan in the mid-'60s. Her friend Chuck Wein (Jimmy Fallon) introduces her to Andy Warhol (Guy Pearce), and Andy is immediately taken with the waifish, wealthy Edie. He welcomes her into his Factory, the silver aluminum-foil covered loft where an assortment of artists and oddballs assisted him with his projects. Edie quickly falls into the hard partying, drug-addled scene, starring in Andy's experimental films and becoming his constant companion. She becomes well-known for her unique style, and the fashion industry taps her as its very first "It" girl. Edie is flying high on Andy, speed, and stardom, when she happens to meet the Bob Dylan-esque "Folksinger" (Hayden Christensen). She falls in love with him, and in doing so, falls out of Andy's favor. Her drug addiction spirals out of control, her parents cut off her cash flow, and her very bright star seems to burn out almost as quickly as it rose. As with most biopics, people are sure to quibble over the accuracy of FACTORY GIRL, and whether it offers fair portrayals of so many larger-than-life cultural icons. However, viewers are sure to agree that it makes a poignant statement about the pitfalls of fame. When Warhol tells Edie's mother that her daughter is going to be "super famous", Mrs. Sedgwick coldly responds: "And what exactly would be the value of that?" Judging from the very tragic, short life of Edie, there wasn't much value in it at all.

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Based on a series of comics by underground cartoonist Robert Crumb, this X-rated animated film brings a cynical eye to the idealism of the 1960s. It's a world where black people are crows, cops are pigs, rabbis are lions, and cats--like New York University student Fritz (voiced by Skip Hinnant)--are substituted for guilt-ridden white guys who want to be poets but mainly smoke pot and engage in group sex. After a drug bust by a couple of bumbling pigs makes him an outlaw, Fritz sets fire to his NYU dorm and hits the road in search of self-discovery. The crazy cat steals a car, starts a race riot in Harlem, and ends up stuck outside San Francisco with a group of sadistic revolutionaries led by a junkie biker rabbit. Throughout these adventures, Fritz's pot-addled self-righteousness gradually gives way to a deeper understanding of life, but perhaps too late to extract himself from a terrorist plot. FRITZ THE CAT was director Ralph Bakshi's first feature, and it carries many of his future themes--ultra bleak urban landscapes, cynically guarded idealism, grotesque sexuality, and raucously over-the-top moments of violence.

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Stanley Kubrick's final film is a mature, highly intelligent, thrilling masterpiece of sexual obsession and marital (in)fidelity. Tom Cruise stars as Bill Harford, a doctor who becomes obsessed with a sexual fantasy that his wife, Alice (Nicole Kidman), confesses to him. Although the fantasy (involving a naval officer) occurred only in Alice's mind, Bill can't get it out of his own head; his obsession leads him through a series of potential sexual encounters, each one surrounded by the specter of death. His whole world threatens to unravel as he falls deeper and deeper into a web of mystery, lies, and deceit. Kubrick's film breathes with vivid blues, reds, and blacks, the threat of illicit sex and death lurking around every corner. Cruise and Kidman, who are married in real life, are utterly convincing as a happy couple suddenly forced to reexamine their faith in each other. Sidney Pollack, Todd Field, Julienne Davis, Marie Richardson, and Vinessa Shaw sparkle in minor roles. Based on the novella TRAUMNOVELLE by Arthur Schnitzler, EYES WIDE SHUT is a brilliant examination of the psychological nature of sex and marriage, of faith and faithlessness, of obsession and desire. Kubrick said that his last film (he died shortly before the film opened) was "my best film ever;" while that is debatable, there is no doubting that the film is a splendid finale to a glorious career.

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The Wachowskis' ultra-modern update of classic film noir stars Jennifer Tilly as Violet, the voluptuously alluring and well-pampered mistress of mob man Ceasar (Joe Pantoliano). Violet is the kind of woman who can catch any man's eye, but she's more interested in the tough, sexy, new handywoman next door named Corky (Gina Gershon). The two quickly become lovers, and conspire to steal two million of the Mafia's money. The twists and turns that result when things don't go quite as they planned make for a steamy, thrillingly suspenseful, and impressively executed film filled with sly wit, inspired visuals, and terrific performances.

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LONDON: When his former girlfriend leaves for New York City to live with her new boyfriend, Syd (Chris Evans) decides to rudely interrupt her going-away party by turning up with a small mountain of cocaine and his drug dealer in tow. Most of the movie takes place in the bathroom at the party--where Syd entertains the guests and shares his drug stash with them. LONDON is a stark look at the effect love can have on a man. But there are a few twists and turns in store as the movie lurches toward a surprising conclusion. SPUN: Ross (Jason Schwartzman) is an addict badly in need of some speed. He pays a visit to his dealer, Spider Mike (John Leguizamo), where he encounters fellow "tweakers" Nikki (Brittany Murphy), a stripper named Frisbee (Patrick Fugit), a metalhead, and Cookie (Mena Suvari), Mike's girlfriend. But the trip turns into an odyssey when Mike can't find his stash. Nikki tells Ross that her boyfriend, a crazed cowboy known as the Cook (Mickey Rourke), can supply whatever he needs. The two of them visit the Cook at his motel lab, and Ross quickly gets his fix. Ross, however, is put into service as The Cook's errand boy and chauffeur, with only brief periods of freedom to check up on the stripper girlfriend he left tied to his bed back at his apartment. Ross's three days without sleep reach a feverish head when it becomes evident that two cops (Peter Stormare and Alexis Arquette) have raided Spider Mike's pad in search of the Cook. This relentlessly crude and graphic feature from Swedish music video director Jonas Ackerlund is not for the faint-of-heart. Lightening-fast edits, sexually explicit animation, Farrelly-Brothers-level rudeness, and a pervasive sense of nihilism swirl together to create a morally empty Los Angeles of seedy abodes and cinder block strip malls inhabited by corrupt cops and thrill-seeking lawbreakers. Set to a memorable score by Billy Corgan, Mickey Rourke's memorable turn paves the way for a game young cast.

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An uninhibited international banker and her assistant, an innocent young lawyer, travel to Brazil to close a deal with a man - impotent, vicious and seductive - who becomes the sexual obsession of each.

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With superb investigative skills heightened by uncanny natural instincts, Iliana Scott (Angelina Jolie) is not a typical FBI profiler. This beautiful, no-nonsense Special Agent is a cut above the rest, which is why her old friend Captain Le Claire (Tcheky Karyo) calls her to assist his detectives in Montreal when a brutalized body is discovered in a construction site. A murder the next night provides proof of a serial killer, but this time, there is a witness. Artist James Costa (Ethan Hawke) not only saw the murder, but also tried to save the victim, and is even able to provide a sketch of the killer. The plot only thickens as ultra-dedicated Scott, along with ornery, territorial Detective Paquette (Olivier Martinez) and good-natured Detective Duval (Jean-Hughes Anglade), continue their investigation, linking together numerous similar murders over the years and arriving at a disturbing conclusion. To complicate matters even more, Scott is drawn to their charming key witness, Costa, and finds herself in uncomfortable territory as she fights her romantic impulses in an effort to remain professional. Director D.J. Caruso's (THE SALTON SEA) second feature also stars Keifer Sutherland and Gena Rowlands, and was filmed on location in Canada.

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While on the surface, high school football may seem like an innocent game played by the young, for the young, it is, in fact, much, much more. For millions, including many fans who are well removed from their high school years but who love to sit in those creaky bleachers every Friday night/Saturday morning, it is something akin to a religion. Director Boaz Yakin's REMEMBER THE TITANS captures the heart of high school football while tackling the sins of its fathers, chronicling the true story of the undefeated 1971 T.C. Williams team of Alexandria, Virginia, which was the first integrated high school team in the state. Denzel Washington brings his ever-powerful presence to the role of coach Herman Boone, who is brought in to oversee the transition to integration. Though Boone is eventually successful as a coach, the townspeople dissaprove of him because he replaces the popular, entrenched former coach, Bill Yoast (Will Patton). At first, coach Yoast resents being supplanted, while coach Boone is told that his promotion was just for show--to help the integration--and that he's likely to be lifted if the team loses a game. Will the coaches and players be able to overcome their adversity and make T.C. Williams a beacon for integration in sports? Those viewers who follow history already know the answer. But REMEMBER THE TITANS portrays the story and delivers the inspirational result with a passion and glory that will warm the hearts of all those dedicated high school football fans who continue to bring pride to the sport.

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In COYOTE UGLY, an aspiring songwriter, Violet Sanford (Piper Perabo), leaves her small-town home and her supportive father (John Goodman) for New York City in hopes of starting a music career. But life in the big city is harder than she imagined. Feeling defeated, and unemployed, she hears about a job opening at a bar called Coyote Ugly, and persuades the bar owner, Lil (Mario Bello), to give her a chance among the bar's beautiful brigade of bartenders. When Violet arrives for work the bouncer tells her it's a quiet night, but when she goes inside the bar she is hit by a wall of throbbing music and howling men. Two women are atop the bar, pulling a customer back over it, pulling up his shirt, and pouring beer on his chest. Welcome to COYOTE UGLY. How will Violet deal with the bar? How will it deal with her? What of her songwriting plans? Inside this raucous, raunchy movie, coproduced by Don Simpson and Jerry Bruckheimer (FLASHDANCE), is a sweet romance between Violet and Kevin (Adam Garcia), a refreshing escape from the chaos of the bar.

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Director John Dahl switches genres from film noir (THE LAST SEDUCTION, RED ROCK WEST) to military actioner with THE GREAT RAID. Following the 1942 Bataan Death March, thousands of U.S. and Filipino soldiers were imprisoned by the Japanese in a POW camp in Cabantauan in the Philippines. Brutalized, starved, and tortured, the prisoners languished in the camp for nearly three years. But in January 1945, an American battalion, with the help of Filipino guerrillas, planned a daring mission--some called it suicide--to rescue the five hundred U.S. soldiers still alive there. The film is told in glorious detail. The story is based on two books, THE GREAT RAID: RESCUING THE DOOMED GHOSTS OF BATAAN AND CORREGIDOR by William B. Breuer and GHOST SOLDIERS: THE EPIC ACCOUNT OF WORLD WAR II'S GREATEST RESCUE MISSION by Hampton Sides. In addition, several men involved in the raid served as consultants on the project. The result is a thrilling, agonizing, and unforgettable war movie like they used to make in the 1940s and 1950s, a celebration of the human spirit. THE GREAT RAID stars Benjamin Bratt as Lt. Colonel Mucci, an offbeat military man who puts his faith in young Captain Prince (James Franco) to lead the dangerous mission. Among the men imprisoned in the camp are Joseph Fiennes as the ailing Major Gibson and Marton Csokas as Captain Redding, who is always trying to escape. Connie Nielsen adds romantic tension as a war widow smuggling much-needed medicine into the camp.

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Based on a true story, this film is both a riveting courtroom drama and a first class chiller. A Catholic Priest (Tom Wilkinson) is on trial for homicidal negligence after performing a failed exorcism on Emily Rose, devout college girl (Jennifer Carpenter) now dead from assorted wounds and malnutrition. Laura Linney plays Erin Bruner, the priest's defense lawyer, and Campbell Scott plays the chief prosecutor, who argues persuasively that Emily was likely suffering from psychotic epilepsy and could have been saved with hospitalization and medicine. The demonic possession unfolds in a series of spine-tingling flashbacks and as it does so, the initially doubtful Erin is visited by evil forces and her own soul seems to be at stake. More than a criminal negligence case, the trial becomes about the importance of recognizing the limits of rationality and the possibility of a world beyond the visible. In portraying the extent to which wildly different belief systems have splintered modern society this film couldn't be more relevant or timely. Linney and Campbell are first rate, as is to be expected, creating great depth for their characters even though the script grants them almost no personal lives; it's a very "stick to the facts" sort of tale. Each character lives a life of apparent near-isolation, which adds to the cumulative effect of unease. The house where Emily grows up is spookily oppressive, the scenes of possession are truly scary and a dark sense of foreboding may follow viewers long after the credits have rolled. Carpenter earns a place as a 21st century scream queen with her hair-raising, fearless performance; Mary Beth Hurt plays the judge.

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Although the artwork in the opening credits would lead you to believe otherwise, writer/director Kurt Wimmer (EQUILIBRIUM) reportedly based ULTRAVIOLET not on a comic book but on John Cassavetes's 1980 film GLORIA, in which a woman must protect a young boy who is carrying some information sought by the Mafia. In ULTRAVIOLET's mid-21st century, a virus has turned part of the earth's population into "hemophages," vampire-like creatures with heightened speed and dexterity, and a fascist government is intent on stamping them out. Enter Violet (Milla Jovovich), a hemophage determined to fight for her people. Her battle takes an unexpected turn, however, when she finds herself protecting Six (Cameron Bright), a mysterious young child who was raised in a lab. Tailor-made for young action fans raised on anime and videogames who want nothing more than to see a beautiful heroine leave a path of destruction behind her, ULTRAVIOLET cross-pollinates plot threads from popular franchises like THE MATRIX and UNDERWORLD. Creating a brightly hued, soft-focus environment constructed entirely with CGI and a green screen, ULTRAVIOLET's look is much like SKY CAPTAIN AND THE WORLD OF TOMORROW (2004). Cementing the reputation she established with similar athletic, minimally clothed roles in THE FIFTH ELEMENT and the RESIDENT EVIL films, Jovovich will go down in the books as a sci-fi femme fatale for the ages. Her Ultraviolet--who inexplicably changes her hair color and outfits seemingly at will--is a lethal melding of Morticia Adams at a rave and KILL BILL's Bride. Pulling off moves that clearly demonstrate the training she underwent for the role, and usually with a bare midriff, she gives her fans plenty to enjoy. Wimmer wisely leaves the door open for further adventures in the saga.

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The work of a deft pickpocketing team forms the focus for the French thriller FRANCK SPADONE. Bruno (Christophe Le Masne) and Franck Spadone (Stanislas Merhar) are the team in question, running a seemingly infallible operation that nets them a princely sum day after day. Things go awry when Spadone falls for one of his victims, a radiant stripper named Laura (Monica Bellucci). But stripping brings some ties which the lusty libertine finds hard to deal with, most notably Laura's overbearing boss, Ferdinand (Carlo Brandt). Suddenly embroiled in Laura and Ferdinand's scheme to murder a local mobster, who takes a hefty share of the club's profits, Spadone finds himself sailing into deep criminal waters. Torn between his affections for Laura and a longing for his former, simpler life, Franck Spadone has to take a good, hard look at himself before deciding which course of action to take.

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Even surrounded by Manhattan's millions, New Yorkers are just as likely to feel lonely as people who live in literal isolation. Heather Graham, Victor Rasuk, and Dominic Chianese star in this drama about three city dwellers whose lives are intertwined in unexpected ways.

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In Joel Schumacher's psychological thriller THE NUMBER 23, Jim Carrey takes on another dramatic role. Carrey's character is similar to his roles in THE TRUMAN SHOW and ETERNAL SUNSHINE OF THE SPOTLESS MIND: he portrays an average man thrust into quite extraordinary situations after a series of strange events cause him to question everything he's ever taken for granted. On his birthday, Walter Sparrow is given a mysterious and tattered book called THE NUMBER 23 by his loving wife, Agatha (Virginia Madsen). As Walter reads the book, he quickly notices its alarming similarities to his own life. Rather than stop reading, he continues, unknowingly inviting the book to take over his life. The deeper Walter gets into the plot, the more he sees himself in its protagonist, Fingerling, whom we see through highly stylized sequences in which Carrey appears as the seedy detective character. Madsen is also present in these scenes, cast as Fingerling's pain-loving girlfriend Fabrizia. As Fingerling and Fabrizia's love affair inches towards its fiery conclusion, we learn the role the number 23 has played in their story and will play in Walter's future if he cannot keep his growing obsession with it at bay. While Carrey and Madsen are adept at playing a man gone mad and a headstrong wife in crisis, they are most fascinating as their dark counterparts, and Schumacher succeeds in creating a truly intoxicating noirish underworld of sex and death through those sequences.

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A white-collar revenge fantasy in the vein of DEATH WISH (and based on a novel by the same author, Brian Garfield), DEATH SENTENCE ponders the nature and limits of retribution, asking if murder can ever be justified. Director James Wan (SAW) delivers a high-end exploitation film, complete with a washed-out, grainy appearance and some startling violence, but with complex, thrilling action sequences. Kevin Bacon is Nick Hume, a successful businessman with two children and a lovely wife (Kelly Preston). While driving home from his older, college-bound son's hockey game, Nick must pull into a gas station in a tough part of town. When the boy goes into the store to buy a drink, his throat is slit during a bloody robbery attempt. Nick identifies the killer, but with him as the only witness, the case is unable to go to trial. Discovering that the murder was merely a gang initiation, Nick is pushed over the edge, taking on the deadly gang headed by the fierce Billy Darley (Garrett Hedlund). Payback becomes all-encompassing for Nick: it not only takes over his life, but it also causes a startling physical transformation. Wan forgoes emotional impact in favor of souped-up, visceral, and occasionally thrilling setpieces. Bacon makes Nick's transformation from a suburban, suit-and-tie family man into a gaunt, shaved-headed angel of death startling and believable. Full of interesting contradictions, DEATH SENTENCE lets viewers have it both ways--fulfilling their bloodlust while ensuring that Nick's targets are despicable people who deserve their fates. Ultimately, though it serves to remind us that, as a solution, violence only begets more violence.

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A group of international tourists seeking fun and adventure in Brazil get a lot more than they bargained for in the suspenseful horror film TURISTAS. Written by first-time screenwriter Michael Arlen Ross and directed by John Stockwell (BLUE CRUSH), TURISTAS, the first American film to be shot completely in the South American nation, is set in the Brazilian mountains, where Alex (Josh Duhamel); his sister, Bea (Olivia Wilde); and her best friend, Amy (Beau Garrett), are preparing for an eco-tour. But when their bus crashes, they are stranded with a group of locals as well as a handful of other tourists, including Finn (Desmond Askew) and Liam (Max Brown), two Brits looking for fast times and hot women, and Pru (Melissa George), a beautiful Australian traveling on her own who takes an immediate liking to Alex. In the middle of nowhere, they find a little oasis in a surprise sandy bar, where they get to know each other, drinking and dancing until they wake up the next morning, having been drugged and robbed of just about everything, with all remnants of the bar gone. They walk into an unfriendly town, but the only person offering any help at all is Kiko (Agles Steib), who might not exactly be leading them to safety. TURISTAS is a well-paced thriller that features brutal torture, violence, and a terrific, breathless underwater chase through some very cool caves. The film also succeeds as an examination of the fear--warranted or not--that some Americans feel in the international community post-9/11.

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British director Ridley Scott may not seem a logical choice for this truly American crime drama, but the filmmaker does an excellent job. The film is based on a true story and set in 1968 Harlem, where Frank Lucas (Denzel Washington) is a driver for Bumpy Johnson, one of the top figures in the city's criminal world. When Bumpy dies, Lucas swoops in, taking over his predecessor's empire and expanding it over the next few years with his sale of a particularly potent brand of heroin. Meanwhile, New Jersey cop Richie Roberts (Russell Crowe) begins to investigate the New York drug world and discovers that there's a new power in town. Thanks to screenwriter Steve Zallian, as well as Washington and Crowe, AMERICAN GANGSTER creates a convincing portrait of two men who are neither entirely good nor entirely bad. Washington plays Lucas as a man who buys his mother a palatial home but doesn't hesitate to beat his brother's head against a window. Crowe's Roberts may turn in a million-dollar find, but he cheats on his wife. Sadly, they only meet onscreen toward the end of the film, but the minimal interaction between the two Oscar winners is fascinating. Even though the focus is on Lucas and Roberts, AMERICAN GANGSTER is filled with a wealth of strong characters played by talented actors. It seems everyone with a SAG card turns up for the film, including Chiwetel Ejiofor, Josh Brolin, Ted Levine, John Hawkes, Ruben Santiago-Hudson, Carla Gugino, Ruby Dee, Joe Morton, and rappers T.I. and RZA. It's an epic film, with a run time of over two and a half hours, but it's time well spent. Fans of classic crime films such as THE GODFATHER, SERPICO, and CARLITO'S WAY will certainly be pleased by this addition to the genre.

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