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It Follows Is a Too-Loving Tribute to Old-School Horror Flicks

I wish I’d liked It Follows even a fraction as much as writer-director David Robert Mitchell plainly admires the 1970s and ‘80s horror flicks on which his aggressively retro film is modeled.

With an ominous score regularly pounding out sustained bass notes, point-of-view camera shots misdirecting the audience into believing a nubile blonde is under surveillance by a sinister force, and the implication that young people will be violently punished for their sexual promiscuity, the elements should be familiar to anyone who’s seen any entry of the Halloween or Friday the 13th series.

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The Salvation Offers a Danish Take on the American Western

As actor Robert Duvall has noted, Westerns are perhaps America’s most important contribution to the dramatic arts. The genre is for us equivalent to England’s relationship with Shakespeare — it is both definitively ours and a gift to the rest of the world. Like the work of the Bard, the best Western stories combine an elegant simplicity in structure, meditations upon the trials of life, and just plain ripping-good yarns.

It’s no wonder then that foreigners are sometimes attracted to trying their hand at it. Danish director Kristian Levring’s admiration is obvious in The Salvation, which plays like a faithful reconstruction of bits and pieces from previous films of the genre.

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McCarthy’s Odd Sandler Vehicle The Cobbler Needs Some Repairs

Adam Sandler doesn’t rise to the usual level of director Tom McCarthy in The Cobbler, nor does McCarthy succumb to Sandler’s typical shtick. Instead, they meet somewhere in the middle, to the benefit of neither.

An odd mix of broad comedy and quaint nostalgia, this flailing attempt at crowd-pleasing comedy attracted a strong cast to thankless roles, which take a backseat to a supernatural gimmick that’s mildly amusing at first but quickly starts to feel more like a kick to the groin with a steel-toe boot.

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Can Cinderella Cash In On Princess Popularity Before It’s Too Late?

Of course, there’s not much creative rationale at this point for another cinematic retelling of Cinderella, whose story is so well known among all ages that its title has become a staple in the pop-culture lexicon.

This handsomely mounted British version of the classic fairy tale from director Kenneth Branagh (Thor) is a visually ambitious if narratively straightforward adaptation that might appeal to young girls who can add another slender big-screen princess to their toy collection.

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