For his ninth feature film, writer/director Tyler Perry has returned to the source of his most inspired work.
“Why Did I Get Married Too?” is a sequel to the 2007 domestic disturbance ensemble piece, reuniting all of the original cast to once again delve into the flood waters of marriage, trust, and infidelity. The original film wasn’t an astounding emotional investigation, but it permitted Perry a chance to work on a script concerning adults, without the pinching shackles of the demonic Madea character or his feckless stabs at religious enlightenment. “Married Too” continues the coarse matrimonial adventure, only now the childish rage and jarring tomfoolery has moved to the Bahamas, allowing the earsplitting melodrama a chance to grab a tan.
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Bringing the hit 1981 fantasy “Clash of the Titans” safely back to the big screen requires a divine touch that can successfully vault past the beloved special effects display of the original film.
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If it ain’t broke, don’t fix it. That’s not just a motto to author Nicholas Sparks, but the very key to his vast literary fortune.
The architect of North Carolina soap operas, Sparks launches another granny shot with “The Last Song,” an absurdly formulaic tearjerker based around the aging appeal of star Miley Cyrus. It’s a fascinating attempt for the former Hannah Montana to edge away from her clownish Disney ways, but even Meryl Streep would be hard-pressed to make something stimulating out of Sparks’s paint-by-numbers storytelling effort.
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Drugs, Judaism, brain-dead intellectualism, and pops of ultraviolence. “Leaves of Grass” isn’t the new film from the Coen Brothers, but don’t mention that little fact to writer/director/co-star Tim Blake Nelson.
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At least in America, the work of director Yimou Zhang has redefined the widescreen scope of the Eastern historical epic, through films such as “Hero,” “House of Flying Daggers,” and “Curse of the Golden Flower.”
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Grief is such a tricky emotion to handle in film. It’s an elusive sensation, often manifesting itself in resolute silence, which doesn’t always register cleanly for the cameras.
“The Greatest” is not a picture of complete quiet, but it’s marvelous when it settles into a hushed mood of introspection and unspoken personal connection; a sweeping feeling of sea change reflected through a trio of splendid actors and their unexpected articulation of mourning.
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