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With her subtle but stunning screen presence and her ability to always knowing just how much is enough, McAdams is a young lady who often feels as though she might have hailed from another era, a luminous class act whose reputation is richly deserved. The Verdict: Good story and exceptional actress plus bad script and bland actor equals so-so movie. This is one of those movies you want to like but its flimsy and lifeless material is too frigid to reach the intimacy required. This full-bodied cappuccino romance delivers on the warm and fuzzy feelings, but leaves dregs at the bottom of the cup. Curling up and reading the original in all its comfy armchair splendour would be a much more beneficial pursuit. A visual feast of colour daring to beg the questions of the universe, Gilliam's unique and increasingly unhinged cinematic flights of fancy range from on-screen genius to the practically unwatchable. Marred with issues, this wondrous, dark and opulent film was to be the troubled director's triumphant comeback. However, his imaginative brilliance is tempered by moments of incoherence and strange disillusionment. Essentially hindering the project, Gilliam is faced with more than his fair share of directorial issues, but nothing compared to his greatest trial, the loss of leading man Heath Ledger. Subsequently rewritten to seamlessly accommodate the characters physical transformations, the miraculously elaborate and surreal dream-logic works better than it has any right too. Adding whimsy to the story's mixed concepts of fantasy and reality, the shared character remains completely coherent although underdeveloped. In the present day, 1000 year old monk-turned-showman Dr. Parnassus (Christopher Plummer) leads a travelling theatre troupe about the streets of London in a horse-drawn demountable stage contraption. The rickety medieval pantomime style show consists of sleight -of-hand expert Anton (Andrew Garfield), dwarf Percy (Verne Troyer), Parnassus' almost of age daughter Valentina (Lily Cole) and of course Parnassus himself. Parnassus, when in a meditative state, controls the central focus of the show, a magical mirror through which audience members enter a surreal world projected by their own innermost desires and personal mental landscapes. In a centuries-spanning duel, it seems the good Doctor made a pact with the devil.

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Charlie Matthau is 7 years old and tells jokes and Walter Matthau is his straight man. arch 26, 1971. All morning he and Arthur Kennedy, Pat Hingle and more than a dozen extras had been standing waist deep in swamp water. But sitting relaxed in her hotel suite, she speaks quietly and the loudest thing out of her is her hearty laugh, which comes frequently. Does she mind the way people describe her voice as brassy and big. It's a position she shares with three others -- Yvette Mimieux. MGM was once the giant, with almost 150 performers under contract. That's the opinion of veteran actor Basil Rathbone, in Cleveland yesterday to entertain at a tea and fashion show at The Sheraton-Cleveland Hotel in behalf of the Great Lakes Shakespeare Festival. Kennedy in the forthcoming movie version of the Pierre Salinger book. But there is no indication that success has spoiled Dick Van Dyke. The difference between any actor and Henry Wilcoxon is that he truly looks distinguished. Wes Craven: zero. James Whale: zero. David Cronenberg: zero. Here they are: The Exorcist, Jaws, The Silence of the Lambs, The Sixth Sense, Black Swan, and last year’s Get Out. Only one took home the prize.

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Cillian Murphy makes a brief return as a hanging judge during the cities decent in chaos and Liam Neeson reappears as the immortal ghost of Ra's Al Ghul, the spiritual head honcho of the mysterious order where both Bruce and Bane were trained. As for franchise newcomers; Hathway adds a sultry acrobatic playfulness to a less prowling feline more dangerous cat-burglar, Seline Kyle. Gordon-Levitt provides a sequel catalyst as dedicated police detective, John Blake. Cotillard is rather insipid and less than impressive as environmental conservationist and Wayne empire investor, Miranda Tate. Hardy; hampered by an elaborate Hannibal Lecter-style apparatus covering most of his face and augmenting his voice to an almost indecipherable level, is left menacing and formidable but somewhat deficient lead archvillain. Directors somehow not realising that although they are intimately familiar with every word in the script, the average straining viewer is left rather baffled by muddy dialogue. Aussie actor Ben Mendelsohn expands his mark in Hollywood in yet another suited badie role as one of Bane's cronies. The Verdict: When each personality has an animalistic persona and a matching contravening objective, when does poignancy become painful and plot become pothole. Whether to have children or not is a natural point of contention for independent twenty-something's, inducing strong opinions and debate material among the masses. But if the option is taken away, how would you react. In a crumbing inner Sydney share-house, Jonah (Ryan Kwanten) is the very picture of young adult irresponsibility proving that the only goal in your twenties is to have fun. Professional party-havers, Jonah and his best mate Gus (Ryan Corr) attempt to build a party empire and live off the cover-charge proceeds of their massive, anarchic shindigs. In the habit of outsourcing any and all responsibilities to fellow housemate Stevie (Sarah Snook), Jonah is unprepared when his latest casual drug-fuelled one night stand becomes an impromptu inspection that turns up a lump. Informed that it is a completely curable bout of testicular cancer, the only drawback is a permanent case of infertility. Heading straight to the sperm bank to ensure future posterity, further bad news that his swimmers are not viable for freezing means is only option is to conceive the natural way. Previously unsold on the idea of parenting, the sudden shock wave of emotion starts Jonah's biological clock-ticking, loudly causes a massive shift in the maestros priorities.

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