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Home » Articles »   By Roger Moore
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Monday, December 7,2009

'Invictus' a feel good, touching story

By Roger Moore
Predictable and manipulative, "Invictus" is a movie Clint Eastwood could make in his sleep. Despite that — and judging from this often inspiring if generic sports drama — he was too professional to ever sneak in more than a nap.
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Monday, November 30,2009

'Everybody's Fine' falls off at end

By Roger Moore
"Everybody's Fine" is a quiet, light study in family dysfunction, a comedy-drama with no heroes or villains, just sad people who aren't necessarily telling the truth when somebody asks them, "Are you happy?"
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Monday, November 30,2009

Strong cast carries 'Brothers'

By Roger Moore
"Brothers" is a movie built on that jarring disconnect between combat zone and "back home." Part POW thriller, part romance, with a big helping of melodrama, Jim Sheridan's film is about a brother who went off to war, was declared dead, but returns a changed man. And it's about the brother left behind, a man changed by his soldier sibling's sacrifice, and by stepping into his brother's role with the missing man's family.
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Wednesday, November 25,2009

Farce gone awry in 'Planet 51'

By Roger Moore
How might a teenager protect himself from that dreaded fate described in legions of sci-fi movies — the probe? If you weren’t thinking “champagne cork,” you were way off, according to the sci-fi kids cartoon Planet 51.
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Friday, November 20,2009

'Ninja Assassin' run-of-the-mill

By Roger Moore
In Japan, where the blades are shiny and sharp and if the fake blood isn't staining the lens, you're not trying hard enough, there' s a rich tradition of sword-and-splatter pictures. That's the tradition Quentin Tarantino's "Kill Bill" leaned on, and it's the foundation of "Ninja Assassin," a more run-of-the-mill Hollywood ninja movie with "Matrix" ties.
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Monday, November 16,2009

'The Blind Side' defies expectations

By Roger Moore
Sandra Bullock retrieves much of the career momentum that "The Proposal" gave her and that "All About Steve" threatened to kill with "The Blind Side," a surprisingly smart and moving drama about a Memphis steel magnolia who doesn't truly bloom until she takes in a homeless teen and gives him a life.
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Friday, November 13,2009

'The Messenger' may get Harrelson Oscar consideration

By Roger Moore
In The Messenger, Woody Harrelson vividly reminds us that he's not just a drawling punch line, a handy hunk of comic relief or ace zombie killer. As an Army captain relegated to "CNO" — "Casualty Notification Officer" — Harrelson gives us layers of hurt under a callous yet needy crust. It may be the best performance of his career and certainly deserves Oscar consideration.
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Monday, November 9,2009

Solid cast helps '2012' overcome flaws

By Roger Moore
Nothing like a dandy evening's apocalypse to take the edge off recession, unemployment, Afghanistan and Glenn Beck. With 2012, Roland "Day After Tomorrow" Emmerich serves up World's End 4.0, with cataclysmic effects showcasing what volcanoes, tidal waves and earthquakes will do once that fabled Mayan calendar runs out on 12-21-12.
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Monday, November 9,2009

Chaotic, but 'Pirate Radio' works

By Roger Moore
Richard Curtis makes romantic, sentimental and overlong comedies filled to the rafters with friends as cast-members. He's a British Judd Apatow — indulgent, substituting sweetness for edge, charm for shock value. His latest, "Pirate Radio," is as jolly, jaunty and sappy as "Love Actually." It was cut by over half an hour for American release and still plays long. But thanks to that fairy-dusting of Curtis charm, I wouldn't cut a frame of it. It skips by like a much-loved old LP.
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Saturday, October 24,2009

'Saw VI' more of the same

By Roger Moore
It's still torture porn, more excruciating than scary. It's still all about the elaborate and gory "games" the victims must win in order to survive Jigsaw's test of character, redemption and humanity. Body parts are lost, guts spill and sharp objects pierce to the sound of screams in the night. But this script, by Marcus Dunstan and Patrick Melton, has a more lyrical bent, and a more satiric bite, than any of the other Saw sequels.
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