Following a global epidemic that has eradicated most of humanity, time travel becomes the only hope of mankind's survival; a volunteer (Bruce Willis) returns to 1990s Philadelphia to find the source of the epidemic, but he's promptly locked away as a madman.
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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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A collaboration between the living Steven Spielberg and the late Stanley Kubrick seems appropriate to a project that reflects profoundly on the differences between life and nonlife.
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Rene Clair's 1931 satire on industrialization was overshadowed for many years by Chaplin's Modern Times and then forgotten, though its recent release on DVD has given it a second—and well-deserved—lease on life.
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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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Some time ago I read an interview with the late South Korean filmmaker Shin Sang-ok, who had been abducted by North Korean agents and held captive for eight years so that dictator Kim Jong-il could play movie producer.
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This understated but affecting 2002 drama, which director Mahamat-Saleh Haroun says is one of just three features ever made in Chad, should be required viewing for American kids who think they've got troubles.
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Shot in July 2003, this collectively made video documentary is by far the most comprehensive account I've seen of how Iraqis view the U.S. war and occupation.
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After a young Mexican girl is killed by a car, her brother, mother, and father each cope with her death differently, but 11 years later all three are still haunted by the tragedy: the brother has become fascinated with the notion of death by drowning, the mother is obsessed with her job hosting a tabloid talk show, and the disconsolate father wanders the city, filming girls he imagines could be his daughter.
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Both of D.W. Griffith's sound films—Abraham Lincoln (1930) and The Struggle (1931)—were scorned as archaic when they came out, which helps explain why he wasn't allowed to direct again for the 17 remaining years of his life.
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Pier Paolo Pasolini's first film is neo-neorealism, set in the slums and back alleys familiar from De Sica and Fellini but directed with a cold dispassion that belongs to Pasolini alone.
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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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After the battered body of a rent boy is pulled out of the Rhone, two Lyonnaise homicide detectives (Gilbert Melki and Emmanuelle Devos) begin canvassing his teenage peers, sifting through his cell phone records, and tracing his recent online activities.
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