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By all rights, THE HANGOVER should have been a minor success that did satisfactory box office and lived on through beer-laden guys? night viewings. The marquee boasts no big-name stars, and the premise--an alcohol-soaked bachelor party--seems tried and tired. But OLD SCHOOL director Todd Phillips?s boys-night-out comedy is a blockbuster revelation that revels in raunchy jokes and happily leaves the border of propriety behind. Groom-to-be Doug (Justin Bartha, NATIONAL TREASURE) has planned an epic night in Las Vegas with his two best friends, Phil (Bradley Cooper, YES MAN) and Stu (Ed Helms, THE OFFICE), and his fiancée's awkward brother, Alan (comedian Zach Galifianakis). But it turns out that they partied a little too hard: Phil, Stu, and Alan wake up the next morning with a missing groom, a tiger in the hotel-room bathroom, a baby in the closet, and no memory of the night before. Though the funny script glories in the gutter, the credit for most of the film?s laughs goes to the excellent cast. Phillips?s OLD SCHOOL had Will Ferrell, Vince Vaughn, and Luke Wilson, but even though THE HANGOVER?s cast members aren?t A-listers (yet), they?re just as talented. Cooper and Helms have gotten laughs in WEDDING CRASHERS and THE OFFICE, respectively, but the perfectly awkward Galifianakis is a hilarious surprise. THE HANGOVER is sure to please everyone in the audience, except the easily offended who will cringe from the film?s foul first moments to its over-the-top closing credits.

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By all rights, THE HANGOVER should have been a minor success that did satisfactory box office and lived on through beer-laden guys? night viewings. The marquee boasts no big-name stars, and the premise--an alcohol-soaked bachelor party--seems tried and tired. But OLD SCHOOL director Todd Phillips?s boys-night-out comedy is a blockbuster revelation that revels in raunchy jokes and happily leaves the border of propriety behind. Groom-to-be Doug (Justin Bartha, NATIONAL TREASURE) has planned an epic night in Las Vegas with his two best friends, Phil (Bradley Cooper, YES MAN) and Stu (Ed Helms, THE OFFICE), and his fiancée's awkward brother, Alan (comedian Zach Galifianakis). But it turns out that they partied a little too hard: Phil, Stu, and Alan wake up the next morning with a missing groom, a tiger in the hotel-room bathroom, a baby in the closet, and no memory of the night before. Though the funny script glories in the gutter, the credit for most of the film?s laughs goes to the excellent cast. Phillips?s OLD SCHOOL had Will Ferrell, Vince Vaughn, and Luke Wilson, but even though THE HANGOVER?s cast members aren?t A-listers (yet), they?re just as talented. Cooper and Helms have gotten laughs in WEDDING CRASHERS and THE OFFICE, respectively, but the perfectly awkward Galifianakis is a hilarious surprise. THE HANGOVER is sure to please everyone in the audience, except the easily offended who will cringe from the film?s foul first moments to its over-the-top closing credits.

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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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Billy Bob Thornton is terrific as Willie T. Stokes, a lowlife department-store Santa in Terry Zwigoff's outrageous comedic follow-up to his offbeat hit GHOST WORLD. Every year, Stokes takes a job as Santa in a different place in order to rob the store he's working in. The diminutive Tony Cox plays his horny sidekick, Marcus, the real mastermind, who is even more foulmouthed than Stokes. Brett Kelly is Thurman Merman, an eight-year-old who desperately needs to believe in the real Santa Claus--and just might have a good enough heart to change Stokes's evil ways. Or maybe not. And Lauren Graham plays Sue, a young sexpot who wants to get a different kind of gift from Santa. Providing excellent comic relief in this black comedy is John Ritter, in his last film role, as the mousy mall manager, and Bernie Mac as Gin, the mall security guard who suspects something is not right. Be warned--BAD SANTA is not a family holiday movie. It is lewd, crude, and very funny, but it is most definitely not for children. Joel and Ethan Coen, the brothers behind such quirky hits as RAISING ARIZONA and BARTON FINK, are the executive producers who came up with the idea in the first place, influenced by the likes of THE BAD NEWS BEARS and SOUTH PARK.

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XXX

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XXX

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This female flip on "lose your virginity" comedies follows an 18-year-old girl as she tries desperately to become a woman the night before throwing her cap in the air for graduation. With teenage libidos pulsing all around her, getting laid would seem a cinch. Unfortunately, that's easier said than she's done.

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Gia

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Gia

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Following up his hit DUDE, WHERE'S MY CAR? writer-director Danny Leiner has come up with the riotous road-trip comedy HAROLD & KUMAR GO TO WHITE CASTLE. Harold (John Cho) has graduated college and is now working at a cubicle, where he is abused by other workers and forced to do their jobs for them. Kumar (Kal Penn) is expected to go to medical school to follow in the footsteps of his father and brother, but he'd rather spend his time partying. The entire film takes place in one night, as wild Kumar is determined to get a sack of burgers at White Castle, even though his more staid roommate would prefer to stay home and finish a project for his officemates. While Kumar seeks fun and adventure, lusting after nearly every woman he meets, Harold dreams only of Maria (Paula Garces), the woman down the hall whom he likes but is too afraid to talk to. Harold & Kumar's excellent adventure includes an outrageous bathroom scene in a college; a cop who takes his job way too seriously; a group of extreme, rad dudes who harass Harold, Kumar, and a convenience store manager; LAW & ORDER: SVU's Chris Meloni as an incredibly disgusting possible psycho; and Neil Patrick Harris playing himself, making fun of his Doogie Howser image. In addition to plenty of raunchy--and very funny--references to sex, drugs, and rock & roll, Leiner also takes on stereotypes and the meaning of love.

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Van Wilder (Ryan Reynolds) is a college stud who is in no rush to finish his coursework and graduate. In fact, after six years of partying his way through Coolidge College, his parents have decided to stop paying his tuition, but Van Wilder isn't worried--he just needs to find a way to pay it himself and keep the fun coming. His fundraising ideas include a topless tutorial service and other raunchy schemes, which only help add to Van's "Big Man on Campus" status. A romance develops between Van and Gwen (Tara Reid), who is writing an investigative piece on Van for the school newspaper. Through his exploits, Van eventually begins to turn over a new leaf, and finally grow up. But not before there are plenty of opportunities for the kind of gross-out humor that teen flicks like THERE'S SOMETHING ABOUT MARY and AMERICAN PIE have made so popular in recent years. The main set piece here involves dog semen injected into eclairs. While this is not exactly highbrow fare, teen audiences who are not too squeamish will enjoy this bawdy college romp.

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While it might sound outlandish to speak of THE PINEAPPLE EXPRESS in the same sentence as CITIZEN KANE, in its own little neck of the cinematic woods the Judd Apatow/Seth Rogen comedy is perhaps just as groundbreaking. In fact, it's nearly impossible to think of another film that blends so seamlessly pitch-perfect stoner babble with high-octane action sequences. Dale Denton (Rogen), a process server with a weed fixation, witnesses a murder and turns to his dealer, Saul (James Franco), for support. The murderer is actually Saul's main drug supplier, and because of Saul's access to some extremely rare high-grade pot (called Pineapple Express) the two are quickly tracked down and put on the run. Like all Apatow/Rogen vehicles, the movie deals with the theme of men succumbing to adulthood and all the adjustments they are forced to make in the process. However, unlike KNOCKED UP and THE 40 YEAR OLD VIRGIN, PINEAPPLE EXPRESS is just too wacky to offer any lessons. Still, there's more going on here than giggles and the munchies. Indie director David Gordon Green (SNOW ANGELS) brings a subtle auteur's touch to the proceedings, approaching the smoking scenes with his distinctively loose feel and giving the action sequences a wonderfully dated sheen that makes them look more like a fight from KNIGHT RIDER than the empty flash of 21st-century blow-?em-ups. It is Franco, however, who truly steals this movie--he hasn't been this charming since his days on FREAKS AND GEEKS. There's only so many ways to play a stoner, but Franco puts his own endearing, lovable spin on the type, portraying Saul as a kind-hearted, well-intentioned yet hardcore dope smoker. Rogen and Apatow have proven themselves a nearly unstoppable juggernaut; here's hoping they bring Franco along on the ride a little more often.

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In the hallowed tradition of such coming-of-age comedies as PORKY'S and AMERICAN PIE, Sean Anders's SEX DRIVE is a genial and hilariously juvenile adventure about misguided intentions and true love. As the film opens, we meet the sensitive and lovelorn Ian Lafferty (Josh Zuckerman). Taunted by his testosterone-addled older brother, Rex (an excellent James Marsden), and shunned by his co-worker/dream girl, Ian takes solace in a raunchy Internet romance with a blonde beauty known as Ms. Tasty. With college approaching and his virginity still intact, Ian allows his friend--and least likely Lothario--Lance (Clarke Duke) to talk him into driving from Chicago to Knoxville. There, Ms. Tasty has promised Ian a wild ride of a more intimate nature. Complicating this lusty road trip is the boys' pilfering of Rex's beloved muscle car, as well as the presence of Ian's other best friend, Felicia (Amanda Crew). On the road to Knoxville the trio will encounter engine breakdowns, jilted backwater boyfriends, abstinent temptresses, and an Amish farmer (Seth Green) as handy with autos as he is quick with sarcasm. But as the action comes to a head in Knoxville, Ian and Felicia must confront the greatest hurdle yet: their feelings for each other. Will sex ruin the bonds of friendship? Will Lance change his carefree ways after an Amish assignation? And will Rex beat Ian to a bloody pulp once he catches up with Ian? Director Sean Anders fills SEX DRIVE with just the right mix of bawdy gags, sharp laughs and emotional honesty. The result is a randy romp that remains true to the lessons of its forefathers: love is never the trip you expect it to be.

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