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The Game Stands Tall Not Your Typical True-life Sports Tale

The film is earnest and wholesome, and places an emphasis on speeches and platitudes about teamwork, effort, humility, and respect. It sometimes strains to generate sympathy and tends to assemble its crises and simplify its characters to maximize the emotional impact. However, the off-the-field scenes have a heartfelt authenticity, and the game sequences are taut and exciting, with an emphasis on close-ups and big hits.

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Rich Hill a Moving Portrait of Rural Poverty

I wanted to call my mother immediately after seeing this documentary — a grand jury prize winner at this year’s Sundance Film Festival — to thank her for the stable home life she provided for me and my sisters. I couldn’t help but feel blessed for the good fortune of my own life after seeing the film’s heartbreaking portraits of three teenage boys growing up in rural small-town Missouri.

With moments that aspire to the visual richness of a Terrence Malick work, Rich Hill is a moving experience, shining a light on a corner of America rarely depicted on-screen.

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Mad Men Creator’s Are You Here Has a Don Draper-esque Identity Crisis

Matthew Weiner should stick to writing taciturn characters like those he’s created on the beloved AMC series Mad Men. Judging by his feature film directorial debut, he’s got little ear for how emotionally expressive human beings communicate.

On his TV show about a 1960s ad agency, Weiner can get in and out of a scene just by having Jon Hamm down another cocktail, and the worshipful critics will read rapturous layers of meaning into the way Don Draper says a curt “goodbye” to Peggy.

But with Are You Here Weiner attempts to tackle an entirely different class of men — the talkative sort who openly share their desires and anxieties. Their character names are Steve Dallas and Ben Baker, but it’s really just actors Owen Wilson and Zach Galifianakis in the same parts they’ve played in pretty much all of their previous movies. Steve is a laid-back womanizer — a local TV weatherman with nice clothes, a nice car, and the outward appearance of having his shit together. Ben is his childhood friend — an eccentric man-child who lives like a recluse and spends his days scribbling in notebooks. They share a love of getting high.

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Is This Dame Worth Another Trip to Sin City?

Like the man said, there are eight million stories in the naked city, so it’s too bad that co-directors Robert Rodriguez and Frank Miller couldn’t come up with a few better than these.

Sin City: A Dame to Kill For is a relatively lifeless rehashing of the same visual tricks and hardboiled-to-the-point-of-self-parody storylines and dialogue of 2005’s original Sin City. Both are based on Miller’s neo-noir comics series, and every frame employs the same black-and-white-with-occasional-bursts-of-color stylization of those books. It’s pleasurable to look at, and that’s even setting aside the fact that actress Eva Green spends much of the film displaying her physical assets.

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Can The Giver Compare to the Book? Brenton Thwaites Weighs In

Thwaites plays Jonas, a teenager growing up in a utopian society in which everyone has been stripped of their emotions and memories, leading to an absence of conflict and suffering. The totalitarian regime assures that everyone’s moods are kept docile and schedules are highly regimented.

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