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The Great Debaters

Based on historical events and figures, Debaters tells the story of Professor Melvin Tolson (Denzel Washington) and the debate team he coached to renown in 1935 at Wiley College, a small black college in Marshall, Texas – defeating teams from other black colleges first, and then taking on teams from white universities.

P.S. I Love You

In this occasionally pleasing – but too often lame – romantic comedy, Hilary Swank and Gerard (300) Butler are young married lovers in New York, embroiled in the posthumous lover yarn, in which one lover has died but refuses to go gently into the good night. It makes plenty of mistakes along the way, including jokes that fail to deliver and family-size sentimental hokum.

The Kite Runner

The Kite Runner is charming and visually rich in its portrayal of Amir and Hassan as they grow up together in a Kabul that now exists only in our imaginations: making minor mischief, watching American movies, and – of course – flying kites.

Charlie Wilson’s War

Director Mike Nichols brings his wisdom, cool incisiveness, and keen ability to crack wise in this odd yet most potent paste-up job of a socio-political satire. We revel in the period piece funhouse of its ’80s kitsch and the gonzo jerry-rigging of politics to fight the Soviets in Afghanistan – as cleverly maneuvered by former Texan congressman Charlie Wilson (Tom Hanks) and a few conspirators.

Sweeney Todd: The Demon Barber of Fleet Street

In 1936’s Sweeney Todd the barber was simply insane. He hacked bodies into meat pies just because he could – it was the kind of frightening ambiguity that the old Tim Burton might have relished in. It surely would’ve made a far richer character for Johnny Depp, who’s nearly asleep throughout this remake.

Walk Hard: The Dewey Cox Story

Before he became the next Woody Allen, Judd Apatow was a writer and producer of such un-ennobling projects as Talledega Nights: The Ballad of Ricky Bobby, a film that Walk Hard unfortunately recalls. This flick will blows no one away with its scattershot satirical take on films that cry out for fiercer retribution.


Seen in some quarters as the feminist reply to Superbad or Knocked Up, Juno seems more like the film that actually speaks like the kids-only even more so. It comes equipped with its own special hip factor; one that automatically assumes that teens are not merely our future, they’re our present.


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