Based on a 2008 incident that rocked the town of Gloucester, Massachusetts, this debut feature by French sisters Delphine and Muriel Coulin centers on five close pals at a high school in seaside Lorient who all agree to get pregnant and raise their children collectively.
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Like many Hollywood sports movies, this Jackie Robinson biopic seems to be pitched at high schoolers, but writer-director Brian Helgeland still manages a pretty absorbing account of Robinson's rookie year as the first black player in major league baseball.
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In Benoit Jacquot's excellent Sade (2000), lissome French ingenue Isild Le Besco gave a seductive performance as a teenage girl corrupted by the legendary marquis.
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Stephen Gaghan, who scripted this turkey, landed in the director's chair after Edward Zwick (Glory) bailed out, and you can almost smell the flop sweat.
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Abbott and Costello were never known for their quality control, but once the comedy duo launched their successful TV series in 1952, their theatrical features really hit the skids.
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Bud Abbott, probably the sharpest straight man in movie history, was badly alcoholic and almost as pudgy as his partner by the time they made this rote horror comedy (1955), their last for Universal.
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Twenty-six horror/fantasy filmmakers contribute three- or four-minute shorts, each taking death as its theme and a letter of the alphabet as its inspiration.
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Few movies have made better use of Hugh Grant's shallow charm and amused befuddlement than this funny and well-paced adaptation of Nick Hornby's best-selling second novel, which charts the unlikely friendship between a preteen nerd crossing over into adolescence (Nicholas Hoult) and a thirtysomething hipster hanging on to it for dear life.
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Dramas about the porn industry range from expressions of puritanical rage (Paul Schrader's Hardcore) to celebrations of open sexuality (Paul Thomas Anderson's Boogie Nights); this one manages to avoid both extremes, as well as anything else that might make it worth watching.
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Like a good short story, a good short film embraces the limitations of its form instead of struggling against them, which may explain why, of the four films I was able to preview on this program of Oscar nominees, the worst turned out to be the longest while the best was among the shortest.
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Sublimely stupid, this collegiate farce plays like a cross between Animal House and Ferris Bueller's Day Off, though the undercurrent of adolescent rage kept reminding me of Wild in the Streets, the 60s trash classic about teenagers taking over the U.S. government.
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Jennifer Reeder (White Trash Girl) directed this quiet but commanding story of a frosty publishing executive who moves into her sister's apartment after she commits suicide.
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