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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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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 stellar cast collides haphazardly in this insightfully written roundelay of racism, rage, and redemption which takes place over the course of one day in LA and involves a circus of cops, robbers, and civilians. A detective (Don Cheadle) with a heroin addict mother and criminal brother investigates the shooting of a black cop by a white one. Two hoodlums (Larenz Tate and Ludacris) jack the car of the District Attorney (Brendon Fraser) and his angry, racist wife (Sandra Bullock). Terrence Howard and Thandie Newton play an upper-class African American couple harassed by a racist cop (Matt Dillon). And the chaos continues, with other roles played by Tony Danza, Michael Pena, and Jennifer Esposito. A propulsive Mark Isham score keeps the disparate narrative threads electrified from the get-go; when they finally connect, the results are explosive and beautiful. Everything is tied together with tight editing and artistic shots of car headlights cutting through dense morning smog. Writer-director Paul Haggis' (writer of MILLION DOLLAR BABY) Los Angeles is a world of alienated people struggling to connect across vast barriers of language, class, and culture; that they manage to do so is testament to their depth as characters more than some trite message of brotherly love. There are no easy answers, but this film is tough, intelligent, and gutsy enough to find some anyway; and for that it's a winner.

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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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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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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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A seemingly virtuous high school guidance counselor, Sam Lombardo (Matt Dillon), is accused of raping students Kelly (Denise Richards) and Suzie (Neve Campbell). Ken Bowden (Bill Murray), an oddball attorney, and Detective Ray Duquette (Kevin Bacon) come to Lombardo's aid, unraveling a much larger blackmail scheme involving some of the town's least suspicious residents. WILD THINGS, a veering, breakneck ride, proved surprisingly successful at the box office. It features director John McNaughton's (HENRY PORTRAIT OF A SERIAL KILLER, NORMAL LIFE) best talents: sinuous, layered storytelling, racy cinematography, and shocking plot twists. Richards and Campbell sizzle on the screen as they tease, seduce, and entrap. Lying somewhere between black comedy and psycho thriller, WILD THINGS is an unclassifiable, unforgettable original.

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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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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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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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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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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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This beautifully filmed, expertly acted movie about two 17-year-old, middle-class Mexican boys on summer break is deceivingly complex. The basic plot of the film is that best friends Tenoch (Diego Luna, BEFORE NIGHT FALLS) and Julio (Gael Garcia Bernal, AMORES PERROS), who think of nothing but sex, convince a beautiful 28-year-old woman, Luisa (Maribel Verdu), to go on a road trip with them to a nonexistent beach. They get lost. They flirt and giggle and fawn over Luisa hoping to win her over with their boyish charms. And that's about it. But that simple plotline merely provides structure for the poetry and meaning that is woven into the film with photography and narration. Periodically throughout the film, while the action continues normally, the sound stops. A voice over then gives information--sometimes a brief biography of one of the characters (birth date, name of father and mother, consequences of birth, primary childhood experiences), or a note about what each of the characters is really thinking, or a news report or historical comment that brings Mexico's tangled politics into the context of daily life. Never is the voice connected to a character in the film. It simply floats. Meanwhile, underwater photography, roving shots of the Mexican countryside, and affectionate close-ups on the characters communicate a solemnness that is not present in the plot. All of these pieces fit together easily, resulting in an excellent, whole, thoughtful film.

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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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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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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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Peter Webber (GIRL WITH A PEARL EARRING) directs the latest installment about the monstrous cannibal Hannibal Lecter, revealing the facts of his childhood and the birth of his troubled mind. When he is a young boy in Lithuania, Hannibal and his privileged family flee their castle as both the Nazi and Russian troops advance, going into hiding in a nearby humble cottage. But the war quickly finds them, and Hannibal witnesses horrible atrocities against his family, particularly from a local independent force of brutes led by the creepy Grutas (Rhys Ifans). Years after the war, teenage Hannibal (Gaspard Ulliel) leaves Lithuania and travels to France, where his uncle's wife, Lady Murasaki (Gong Li), takes him in and befriends him. A gifted medical student, Hannibal studies corpses and anatomy with extreme diligence, but dreams of tracking down and destroying those who harmed him and his family. Soon, he is acting on his impulses, hunting down the perpetrators from his youth and inflicting cruel punishment. Ulliel is chilling as the stone-faced Hannibal, clearly scarred by his tragic past and ever more determined to exact revenge. Li is luminous onscreen, and her mysterious character deserves more development. Ifans, perhaps best known for his turn as the goofy roommate in NOTTING HILL, is a menacing bully with a heart of stone. Dominic West appears as Inspector Popil, a French detective specializing in war crimes who suffered his own losses during the war, making him sympathetic towards Hannibal even though he is convinced of his guilt. Thomas Harris, the author of the Hannibal series that also includes THE SILENCE OF THE LAMBS, RED DRAGON, and HANNIBAL, serves as screenwriter for the first time in the Hannibal films.

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Rebecca Carlson (Madonna) is on trial for the murder of her wealthy, older lover, whom the D.A. (Joe Mantegna) is convinced died as a result of an intense lovemaking session. It is up to her attorney (Willem Dafoe) to prove Rebecca's innocence, but when he becomes entangled in her web of erotic game-playing, he too is endangered by her passion.

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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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Directed by Barry Levinson, BUGSY tells the true story of legendary New York mobster Benjamin "Bugsy" Siegel. Visiting Hollywood "on business," the reckless and volatile Bugsy is drawn to Tinseltown and the glamour of the movies. Leaving his wife and kids in Scarsdale indefinitely, the womanizing Bugsy spends his time on movie lots and at Hollywood extravaganzas, contemplating his own potential stardom. But soon he falls hard for strong-willed actress Virginia Hill (Annette Bening), who isn't content with mistress status. A road trip to a down-trodden joint in the Nevada desert in a town called Las Vegas leads Bugsy to dream of building a world-class casino and turning the town into a moneymaker. Together Bugsy and Virginia--with backing from the mob--start building The Flamingo hotel and casino, hoping that legal gambling and five-star entertainment will entice the masses and rake in big bucks.

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