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	<title>Entertainment &#187; Mary Corliss &#124; TIME.com</title>
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	<link>http://entertainment.time.com</link>
	<description>What’s good, bad and happening, from pop culture to high culture</description>
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		<title>Entertainment &#187; Mary Corliss &#124; TIME.com</title>
		<link>http://entertainment.time.com</link>
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		<title>Lock Up Your Daughters! Part 2: François Ozon&#8217;s Young &amp; Beautiful</title>
		<link>http://entertainment.time.com/2013/05/17/lock-up-your-daughters-part-2-francois-ozons-young-beautiful/</link>
		<comments>http://entertainment.time.com/2013/05/17/lock-up-your-daughters-part-2-francois-ozons-young-beautiful/#comments</comments>
		<pubDate>Fri, 17 May 2013 16:19:40 +0000</pubDate>
		<dc:creator>Mary Corliss</dc:creator>
				<category><![CDATA[Cannes Film Festival]]></category>
		<category><![CDATA[Movies]]></category>
		<category><![CDATA[Charlotte Rampling]]></category>
		<category><![CDATA[Francois Ozon]]></category>
		<category><![CDATA[Geraldine Pailhas]]></category>
		<category><![CDATA[Jeune & Jolie]]></category>
		<category><![CDATA[Marine Vacth]]></category>
		<category><![CDATA[Young & Beautiful]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3540719</guid>
		<description><![CDATA[The first full day of Cannes screenings featured two films — Sofia Coppola’s The Bling Ring and François Ozon’s Jeune &#38; Jolie — about middle-class teenage girls who chose a life of crime. Our reviews follow. June nights! Seventeen! Drink it in. Sap is champagne, it goes to your head. . . The mind wanders, you feel a kiss On your lips, quivering like a living thing. In a Paris schoolroom, teenagers recite snippets from Rimbaud&#8217;s poem &#8220;No One&#8217;s Serious at Seventeen.&#8221; One of these students, Isabelle Bontale (Marine Vacth), fills her evenings with more than homework and dreams of the boy in the back row. After a summer by the sea, during which she allowed a German boy to take her virginity, Isabelle has turned her blooming sexuality into a business enterprise: freelance prostitution. Earning 300 to 500 Euros for each hotel assignation, she goes by the name Léa and gives her age as 20. She&#8217;s 17. (READ: A 1962 review of a Rimbaud biography by subscribing to TIME) In outline, Young &#38; Beautiful (Jeune &#38; Jolie) appears sensational: I Was a Teenage Call Girl. Yet François Ozon&#8217;s film is tender, judicious, fascinated, sexually charged but not prurient. It pins no blame on society, school, the girl&#8217;s clients or her parents. Isabelle treats her concerned mother (Geraldine Pailhas) and amiable stepfather (Frédéric Pierrot) the way any teen might: as the security guards of an enemy state who deserve little communication and no straight answers. In fact, they are the innocents, she the daredevil spy with a dirty secret. She is close to her sweet younger brother Victor (Fantin Ravat), who watches her sunbathe nude or masturbate in her bedroom while he remains ignorant of her profitable secret. So is everyone else; Isabelle has a facility for compartmentalizing her double life. That first night, as she lies on the beach, the German boy pounding his manhood into her, another Isabelle stands nearby watching, appraising, detached. Why does she choose this line of work? That is for the spectator to speculate. &#8220;This young woman<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3540719&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<primary_category>Cannes Film Festival</primary_category><primary_category_link>http://entertainment.time.com/category/movies/cannes-film-festival/</primary_category_link><featured_image>http://timeentertainment.files.wordpress.com/2013/05/6414699-young-and-beautiful-af-franois-ozon.jpg?w=240</featured_image>
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			<media:title type="html">(Jeune &#38; Jolie) Young &#38; Beautiful</media:title>
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			<media:title type="html">marycorliss</media:title>
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		<item>
		<title>Mud: Matthew McConaughey as an Outlaw in Love</title>
		<link>http://entertainment.time.com/2013/04/26/mud-matthew-mcconaughey-as-an-outlaw-in-love/</link>
		<comments>http://entertainment.time.com/2013/04/26/mud-matthew-mcconaughey-as-an-outlaw-in-love/#comments</comments>
		<pubDate>Fri, 26 Apr 2013 22:10:07 +0000</pubDate>
		<dc:creator>Mary Corliss</dc:creator>
				<category><![CDATA[Movies]]></category>
		<category><![CDATA[Review]]></category>
		<category><![CDATA[Beasts of the Southern Wild]]></category>
		<category><![CDATA[Jacob Lofland]]></category>
		<category><![CDATA[Jeff Nichols]]></category>
		<category><![CDATA[Joe Don Baker]]></category>
		<category><![CDATA[Michael Shannon]]></category>
		<category><![CDATA[Mud]]></category>
		<category><![CDATA[Ray McKinnon]]></category>
		<category><![CDATA[Reese Witherspoon]]></category>
		<category><![CDATA[Sam Shepard]]></category>
		<category><![CDATA[Sarah Paulson]]></category>
		<category><![CDATA[Tye Sheridan]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3538366</guid>
		<description><![CDATA[Mud is the place where the earth meets the water. In a rural stretch of Arkansas, a few folks live in wooden shacks along the Mississippi, as comfortable on the river as on land. One of these is 14-year-old Ellis (Tye Sheridan), whose parents (played by Ray McKinnon and Sarah Paulson) have slipped into disharmony as they might sink into quicksand. Next door is Tom Blankenship (Sam Shepard), a tough coot and former military sharpshooter. And on an island offshore dwells a mysterious river god, or water demon, on the run from a murder warrant. He is played by Matthew McConaughey, and his name is Mud. The original screenplay by Arkansas native Jeff Nichols is also a classic coming-of-age story about Ellis’s need to escape his home, where marital tension reigns, and sail unknown waters to find adventure and, perhaps, his grown-up self. Mud, which played at last year’s Cannes Film Festival and is one of this year’s most impressive works, could be called a romantic melodrama. But it&#8217;s really a clear-eyed essay on the power of romance: in a man’s love for a woman — Mud’s for his sweetheart Juniper (Reese Witherspoon), whom he means to rescue — and a boy’s faith in that man. (READ: Richard Corliss on Jeff Nichols&#8217; Take Shelter) Nineteenth-century literature, from Great Expectations to Huckleberry Finn, teaches that, when a boy befriends a man on the run from society, the boy is right and society is wrong. Ellis instinctively realizes that when he and his pal Neckbone (Jacob Lofland) visit a deserted island and discover a motorboat lodged high in a tree, the odd wreckage of some earlier violent storm. Mud, hiding there from bounty hunters hired by the dead man’s father (Joe Don Baker), embraces the boys as his posse and his go-betweens. He asks them to bring him tools to fix the boat, and food, and to deliver a letter to Juniper, who, he is sure, awaits him. Neckbone, Ellis’s age but still a kid at heart, harbors a healthy skepticism toward the<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3538366&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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		<slash:comments>0</slash:comments>
	<primary_category>Review</primary_category><primary_category_link>http://entertainment.time.com/category/movies/review-movies/</primary_category_link><featured_image>http://timeentertainment.files.wordpress.com/2013/04/mud-sundance-1.jpg?w=240</featured_image>
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			<media:title type="html">Mud</media:title>
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			<media:title type="html">marycorliss</media:title>
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	</item>
		<item>
		<title>Amour: A Love Story for the Aged</title>
		<link>http://entertainment.time.com/2012/12/18/amour-a-love-story-for-the-aged/</link>
		<comments>http://entertainment.time.com/2012/12/18/amour-a-love-story-for-the-aged/#comments</comments>
		<pubDate>Tue, 18 Dec 2012 16:00:42 +0000</pubDate>
		<dc:creator>Mary Corliss</dc:creator>
				<category><![CDATA[Movies]]></category>
		<category><![CDATA[Review]]></category>
		<category><![CDATA[Amour]]></category>
		<category><![CDATA[Emmanuelle Riva]]></category>
		<category><![CDATA[Isabelle Huppert]]></category>
		<category><![CDATA[Jean-Louis Tringtignant]]></category>
		<category><![CDATA[Michael Haneke]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3525929</guid>
		<description><![CDATA[In the first scene of Amour, firemen break down the front door of a Paris apartment and find a bedroom door sealed to discourage entry. Inside is the corpse of an elderly woman, her hands folded, flower petals wreathing her head. The Austrian filmmaker Michael Haneke might have been chosen to be the chief prosecutor of modern man’s sins. His relentless depiction of the inhumanity to which civilized people can descend has raised cries of cinematic sadism. No one, however, disputes his mastery of camera mood in the modern psychodramas The Piano Teacher (2001) and Caché (2005) and the period epic The White Ribbon (2009), which portrays collective guilt in a German town 20 years before the rise of Hitler. (READ: Mary Corliss&#8217;s review of The White Ribbon) Amour, which won the Palme d’Or at Cannes, and has been chosen as the year’s finest foreign-language film by most of the American film critics’ groups, is Haneke of the highest order. It possesses many of the filmmaker’s touchstones: an austere, majestic visual style; a central couple whose names are some variation of George and Anne; an enclosed setting that allows no exit for either the characters or their demons; an abrupt act of violence. The difference here is the compassion that Haneke affords the two people in this story, and the love, not twisted or ironic, that they show each other. Georges (Jean-Louis Trintignant) and Anne (Emmanuelle Riva), both in their eighties, are retired music teachers. They are first seen together in the audience of a concert given by one of Anne’s former pupils. Typically, Haneke insists that the viewer search for his main couple; as in the climactic scene in Caché, which requires some detective work to locate the clue to the film’s mystery, this shot does not direct the viewer’s eye to Georges and Anne. But once they are located, they dominate the film. Although Isabelle Huppert has a few scenes as their concert-performer daughter Eva, and a half-dozen others appear briefly, Amour is basically a two-character drama — and, above all, a<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3525929&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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		<slash:comments>0</slash:comments>
	<primary_category>Movies</primary_category><primary_category_link>http://entertainment.time.com/category/movies/</primary_category_link><featured_image>http://timeentertainment.files.wordpress.com/2012/05/amour.jpg?w=240</featured_image>
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			<media:title type="html">amour</media:title>
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			<media:title type="html">marycorliss</media:title>
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		<item>
		<title>Dragon: The One-Armed Swordsman With a Heart</title>
		<link>http://entertainment.time.com/2012/11/29/dragon-the-one-armed-swordsman-with-a-heart/</link>
		<comments>http://entertainment.time.com/2012/11/29/dragon-the-one-armed-swordsman-with-a-heart/#comments</comments>
		<pubDate>Thu, 29 Nov 2012 15:00:15 +0000</pubDate>
		<dc:creator>Mary Corliss</dc:creator>
				<category><![CDATA[Movies]]></category>
		<category><![CDATA[Review]]></category>
		<category><![CDATA[Donnie Yen]]></category>
		<category><![CDATA[Dragon]]></category>
		<category><![CDATA[Jimmy Wang Yu]]></category>
		<category><![CDATA[Kara Hui]]></category>
		<category><![CDATA[Peter Chan Ho-sun]]></category>
		<category><![CDATA[Takeshi Kaneshiro]]></category>
		<category><![CDATA[Tang Wei]]></category>
		<category><![CDATA[Wu Xia]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3524070</guid>
		<description><![CDATA[When a mild-mannered peasant unsheathes the powers he has long kept hidden, the results can be spectacular. The same can be said for Peter Chan Ho-sun’s Dragon, a martial-arts morality play as lithe as it is forceful. Shown under its original title, Wu Xia, when it premiered at the Cannes Film Festival in 2011, Dragon provides a lesson in how to make an internationally appealing action film with depth, feeling and explosive finesse. In a village in Yunnan province in 1917, Liu Jinxi (Donnie Yen) is a modest man with a loving wife, Ayu (Tang Wei, the female lead in Ang Lee’s Lust, Caution), and two young sons. His peaceful world is ripped apart when two bandits burst into town and rob a local store. As the aged owner and his wife cower in a corner, Jinxi takes reluctant action and ultimately kills the two tough guys, one of whom dies from an expert maneuver known only to a few members of the “72 Demons” clan from a neighboring province. These deaths arouse the interest of the investigating detective, Xu Baijiu (Takeshi Kaneshiro). An advanced student of the body’s internal workings, Baijiu becomes convinced that Jinxi is the notorious murderer Tang Dong, son of the 72 Demons’ Master (Jimmy Wang Yu). But if he is Tang Dong, why is he toiling as a paper-maker in this obscure hamlet? And with what fury might the killer react when he suspects the detective knows the truth? (READ: Richard Corliss on Peter Chan&#8217;s martial-arts film Warlords) Dragon bears similarities to A History of Violence, the film that David Cronenberg made from the John Harris graphic novel. To this template, Chan adds the CSI element of the diligent forensic investigator — except that here the man who strives to serve justice is also, if unwittingly, an agent of destruction and death. When the Demons learn the whereabouts of its renegade prince, they descend on the town with Armageddon in mind. First Jinxi must do battle with the clan&#8217;s reigning female fighter (Hong Kong action-film veteran Kara<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3524070&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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		<slash:comments>0</slash:comments>
	<primary_category>Movies</primary_category><primary_category_link>http://entertainment.time.com/category/movies/</primary_category_link><featured_image>http://timeentertainment.files.wordpress.com/2012/11/2012_wu_xia_001.jpg?w=240</featured_image>
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			<media:title type="html">Image: Dragon (Wu Xia)</media:title>
		</media:content>

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			<media:title type="html">marycorliss</media:title>
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		<item>
		<title>Rust and Bone: Marion Cotillard and Oscar Mania</title>
		<link>http://entertainment.time.com/2012/11/23/rust-and-bone-marion-cotillard-and-oscar-mania/</link>
		<comments>http://entertainment.time.com/2012/11/23/rust-and-bone-marion-cotillard-and-oscar-mania/#comments</comments>
		<pubDate>Fri, 23 Nov 2012 10:40:31 +0000</pubDate>
		<dc:creator>Mary Corliss</dc:creator>
				<category><![CDATA[Movies]]></category>
		<category><![CDATA[Review]]></category>
		<category><![CDATA[Jacques Audiard]]></category>
		<category><![CDATA[La vie en rose]]></category>
		<category><![CDATA[Marion Cotillard]]></category>
		<category><![CDATA[Matthias Schoenaerts]]></category>
		<category><![CDATA[Rust and Bone]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3523155</guid>
		<description><![CDATA[One of the most repellent phrases in the English language is “Oscar buzz.” The nattering about contenders for the Academy Awards begins more than a year before Oscar night, at Sundance; it balloons at Cannes in May and festers fully in early September at the Toronto Film Festival. From then through the end of the year, and on and on through the Golden Globes and beyond, the public is besieged by countless commercials for Oscar hopefuls, and by “news reports” that are really stealth-marketing for the movies in question. And critics are asked to put aside a cool analysis of films, which is their job, and to handicap the odds of a movie or a performer getting nominated. Falling into this trap diminishes the work, for it suggests that a prize given by 6,000 rich, mostly elderly Hollywood businessmen and their employees is the highest honor a cinema artist can receive. We should not ask whether a great film like Michael Haneke’s Amour is Oscar-worthy, but whether the Motion Picture Academy is Amour-worthy. The tawdry irrelevance of award-giving is mitigated slightly when the film or actor is foreign. Then, at least, the citation helps to promote work that the mass of moviegoers would not hear of, let alone be persuaded to see, without these Good Filmmaking seals of approval. (READ: TIME&#8217;s exhaustive coverage of the 2012 Oscar campaign) Beginning with its world premiere at Cannes, and flourishing at Toronto, Rust and Bone (De rouille et d’os) has attracted attention less for what it is — a romance of rehabilitation, featuring splendid performances and outrageous plot contrivances — than for what it might be next February. The drum roll of publicity that sounded on the red carpet at Cannes’ Grand Palais is meant to reach its climax on the red carpet next Oscar night. Rust and Bone certainly arrives with a pedigree. Its director and cowriter is Jacques Audiard, whose prison drama A Prophet was nominated for the foreign-language Academy Award. More to the Oscar point, the film’s female lead is Marion Cotillard, the<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3523155&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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		<slash:comments>0</slash:comments>
	<primary_category>Movies</primary_category><primary_category_link>http://entertainment.time.com/category/movies/</primary_category_link><featured_image>http://timeentertainment.files.wordpress.com/2012/05/rust-and-bone-movie-review.jpg?w=240</featured_image>
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			<media:title type="html">Rust-and-Bone-Movie-Review</media:title>
		</media:content>

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			<media:title type="html">marycorliss</media:title>
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		<title>The Paperboy: Down and Dirty with Zac, Matthew and Nicole</title>
		<link>http://entertainment.time.com/2012/10/04/the-paperboy-down-and-dirty-with-zac-matthew-and-nicole/</link>
		<comments>http://entertainment.time.com/2012/10/04/the-paperboy-down-and-dirty-with-zac-matthew-and-nicole/#comments</comments>
		<pubDate>Thu, 04 Oct 2012 14:30:59 +0000</pubDate>
		<dc:creator>Mary Corliss</dc:creator>
				<category><![CDATA[Movies]]></category>
		<category><![CDATA[Review]]></category>
		<category><![CDATA[John Cusack]]></category>
		<category><![CDATA[Lee Daniels]]></category>
		<category><![CDATA[Macy Gray]]></category>
		<category><![CDATA[Matthew McConaughey]]></category>
		<category><![CDATA[Nicole Kidman]]></category>
		<category><![CDATA[Pete Dexter]]></category>
		<category><![CDATA[The Paperboy]]></category>
		<category><![CDATA[zac efron]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3517406</guid>
		<description><![CDATA[For pure shock value, few scenes from this year’s movies can equal the moment in The Paperboy when a swim-suited Zac Efron suffers a jellyfish sting on a Florida beach and, as lovely young things flutter around him, Nicole Kidman pushes through to cauterize Efron’s wounds by squatting and urinating on them. “If anyone&#8217;s gonna piss on him,” Kidman announces, “it’s gonna be me.” Wretched excess, or divine decadence? A racially charged drama, or a demented, deadpan comedy? A wallow in depravity, or a demonstration of the seductive appeal of transgressive behavior? Director Lee Daniels’ film may be some or all of the above. It is hard to categorize and, for people who get on its weird, fluctuating wavelength, harder to resist. (READ: Mary Corliss&#8217;s and Mary Pols&#8217; reviews of Precious) What must be said about Daniels’ first film since his award-winning Precious: Based on the Novel ‘Push’ by Sapphire is that, unlike many movie excursions into the racial tensions of 50 years ago, The Paperboy actually has a pulse; it revels in the lure of the lurid. Working with Pete Dexter to adapt his 1995 novel to the screen, Daniels barges into that mythical land, the American South, takes root in the sins of the flesh and the soul, and digs deep, down and dirty. Jack James (Efron), the younger son of the local newspaper publisher (Scott Glenn) in Moat County, is charming and callow, overshadowed by the reputation of his brother Ward (Matthew McConaughey), who’s become a big-city journalist. Ward is back in Moat, with his black-reporter friend Yardley (David Oyelowo), to investigate the murder trial of a local sheriff. Hillary Van Wetter (John Cusack), the backwoods layabout who is on Death Row for the crime, had an airtight alibi that was not allowed into evidence. Now Charlotte Bless (Kidman), a jailbird Jenny who courted Hillary while he was in prison, says she has two boxes of letters that will afford the convict a new trial. (READ: Richard Corliss on the late blooming of Matthew McConaughey) People can be attracted<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3517406&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<primary_category>Movies</primary_category><primary_category_link>http://entertainment.time.com/category/movies/</primary_category_link><featured_image>http://timeentertainment.files.wordpress.com/2012/05/paperboy600.jpg?w=240</featured_image>
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			<media:title type="html">Paperboy</media:title>
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		<media:content url="http://2.gravatar.com/avatar/e94ee8b20dc9188b9dc5fe15a4aece5f?s=96&#38;d=http%3A%2F%2F2.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D96&#38;r=G" medium="image">
			<media:title type="html">marycorliss</media:title>
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		<title>Robert Redford&#8217;s The Company You Keep: Old Radicals Die Hard</title>
		<link>http://entertainment.time.com/2012/09/06/robert-redfords-the-company-you-keep-old-radicals-die-hard/</link>
		<comments>http://entertainment.time.com/2012/09/06/robert-redfords-the-company-you-keep-old-radicals-die-hard/#comments</comments>
		<pubDate>Fri, 07 Sep 2012 00:08:30 +0000</pubDate>
		<dc:creator>Mary Corliss</dc:creator>
				<category><![CDATA[Movies]]></category>
		<category><![CDATA[Review]]></category>
		<category><![CDATA[Brendan Gleeson]]></category>
		<category><![CDATA[Julie Christie]]></category>
		<category><![CDATA[Nick Nolte]]></category>
		<category><![CDATA[Richard Jenkins]]></category>
		<category><![CDATA[Robert Redford]]></category>
		<category><![CDATA[Sam Elliott]]></category>
		<category><![CDATA[Shia LaBeouf]]></category>
		<category><![CDATA[susan sarandon]]></category>
		<category><![CDATA[The Company You Keep]]></category>
		<category><![CDATA[Venice Film Festival]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3513683</guid>
		<description><![CDATA[For how many decades of your life do you have to be the person you were in your twenties? Small-town lawyer Jim Grant (Robert Redford) wonders that when he hears the news that Susan Solarz (Susan Sarandon), a long-ago member of the Weather Underground who has lived incognito as a quiet housewife and mother, had been arrested and charged with murder for her radical activities in the ’70s. For Jim, the question is not academic. Under his real name, Nick Sloan, he had been one of Solarz’s comrades in the bombings of government buildings at exactly that period when political idealism soured into potentially lethal criminality. The Company You Keep, which has its world premiere tonight at the Venice Film festival before it plays on Sunday at the Toronto fest, is Redford’s ninth film as a director and one of his knottiest and most involving. With a welcome mixture of juice and grit, the movie dramatizes the lingering conundrums of young people in the time of the Vietnam morass. Many went to war, others to Canada, some into the relative safety of the National Guard or graduate school. A few, infuriated by the Kent State slaughter and exasperated by the limits of nonviolent resistance, took up arms against what they saw as the atrocities of the Johnson and Nixon administrations. When the Feds came after them, they went into hiding, fugitives in their own country, for years or forever. As Sloan says, “I’ve been Jim Grant longer than I’ve been me.” (READ: a 1976 cover story on the Weather Underground by subscribing to TIME) With the Solarz arrest, and the resourceful sleuthing of a young reporter (Shia LaBeouf), Grant is exposed as Sloan. To clear his name of a murder he did not commit, he must go underground again and travel from New York State to the Midwest trying to contact his old renegades. He can count on their solidarity; as Solarz says proudly, “We never betrayed each other, not once, and I&#8217;m not gonna start now.” But he needs<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3513683&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<primary_category>Movies</primary_category><primary_category_link>http://entertainment.time.com/category/movies/</primary_category_link>
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			<media:title type="html">marycorliss</media:title>
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		<title>Sarah Polley&#8217;s Stories We Tell: Secrets and Lies</title>
		<link>http://entertainment.time.com/2012/09/05/sarah-polleys-stories-we-tell-secrets-and-lies/</link>
		<comments>http://entertainment.time.com/2012/09/05/sarah-polleys-stories-we-tell-secrets-and-lies/#comments</comments>
		<pubDate>Wed, 05 Sep 2012 18:21:19 +0000</pubDate>
		<dc:creator>Mary Corliss</dc:creator>
				<category><![CDATA[Movies]]></category>
		<category><![CDATA[Review]]></category>
		<category><![CDATA[Sarah Polley]]></category>
		<category><![CDATA[Stories We Tell]]></category>
		<category><![CDATA[Venice Film Festival]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3513368</guid>
		<description><![CDATA[It’s a wise child, the saying goes, that knows its own father. And its own mother. Diane MacMillan Polley, a Canadian actress and casting director, died of cancer in 1990, when her youngest daughter, Sarah, was 11. But Sarah Polley, a professional performer from childhood, blossomed into a fine young actress: in Atom Egoyan’s The Sweet Hereafter, David Cronenberg’s eXistenZ, Kathryn Bigelow’s The Weight of Water, Isabel Coixet’s My Life Without Me and Zack Snyder’s Dawn of the Dead. Wide-eyed and ethereal, the young Sarah was a screen creature distinguished by her intense attentiveness to the world around her; she embodied characters who saw much more than they said. At 27, with Away from Her, Polley showed that she was a writer-director precociously attuned to the passions and tensions in a marriage of sexagenarians. The subject of that fine drama, for which Sarah earned an Oscar nomination as writer, was of a woman (Julie Christie) whose incipient Alzheimer’s forced her estrangement from her husband and toward another man. Polley might have been searching, in fiction, for the mother who had gone, too early, away from her. (READ: Rebecca Winters Keegan on Julie Christie in Sarah Polley&#8217;s Away from Her) Stories We Tell — the probing, emotionally devastating documentary that was, for this critic and many others, the revelation of the first week of the Venice Film Festival — records Polley’s attempt to “be a detective in my own life,” to learn more about her late mother and elusive father. She employs an artful combination of family interviews, reconstructions, super-8 home movies and portions of Michael Polley’s memoir, which he reads to the camera. Beginning her film with Canadian novelist Margaret Atwood’s observation that, “When you’re in the middle of a story, it isn’t a story at all,” Polley wants to find the “truth” about her parents and, even more, the way the legend becomes the truth in family histories no less than in film fiction. The full story of Stories We Tell, which could be called Secrets &#38; Lies, will not<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3513368&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<primary_category>Movies</primary_category><primary_category_link>http://entertainment.time.com/category/movies/</primary_category_link><featured_image>http://timeentertainment.files.wordpress.com/2012/09/storieswetell.jpg?w=240</featured_image>
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			<media:title type="html">StoriesWeTell</media:title>
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			<media:title type="html">marycorliss</media:title>
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		<title>The Artist: Cannes&#8217; Beauty Spot</title>
		<link>http://entertainment.time.com/2011/05/21/the-artist-cannes-beauty-spot/</link>
		<comments>http://entertainment.time.com/2011/05/21/the-artist-cannes-beauty-spot/#comments</comments>
		<pubDate>Sat, 21 May 2011 19:58:17 +0000</pubDate>
		<dc:creator>Mary Corliss</dc:creator>
				<category><![CDATA[Cannes Film Festival]]></category>
		<category><![CDATA[Movies]]></category>

		<guid isPermaLink="false">http://specials.blogs.time.com/?p=1972</guid>
		<description><![CDATA[Delight is not a word frequently associated with the films at Cannes. Seriousness, slowness, strangeness: the movies on the Grand Palais screen are often dour and demanding. This year the world&#8217;s most acclaimed directors have given us glimpses of their apocalyptic or misanthropic visions. Terrence Malick produced the beginning of the cosmos, and Lars von Trier imagined the end of the world. We have seen stories about boys in trouble, young women in bordellos, brutal cops, pedophiles, angry gangsters and suicidal samurai. So on the day before Jury President Robert De Niro announces the winner of Cannes&#8217; top-prize Palme d&#8217;Or, attention must be paid to a film that is as sunny and life-affirming as the Riviera resort that hosts the Festival. It is the one &#8220;feel-good,&#8221; and very good, movie in competition: Michel Hazanavicius&#8217; The Artist. With supreme confidence and an informed, infectious fondness for his subject, Hazanvicius has paid tribute to Hollywood in the late 1920s, when the silent films gave way to talking pictures, by embracing contradictions and then beautifully resolving them. The writer-director is French, as are his stars, Jean Dujardin and Bérénice Bejo, but they made the movie in Los Angeles, and all the dialogue is in English — dialogue that, until the last scene, is never heard but rather mouthed or shown in intertitles. The result is a &#8220;silent&#8221; film (with Ludovic Bourse&#8217;s virtually nonstop symphonic score) and in &#8220;black-and-white&#8221; (shot in color and then monochromed in the lab). So: a black-and-white silent movie: do you want to see that? If you don&#8217;t, you will be missing the fizziest, most endearing film in ages. The Artist, which The Weinstein Company will open in the U.S. later this year, is not just for geriatric cinephiles but for anyone of any age who wonders what happened to the cinema&#8217;s old gift for creating pure joy. George Valentin (Dujardin) is a full-service silent-screen star: action hero and glamour boy, every man&#8217;s ideal and every lady&#8217;s crush. The blithe spirit of romantic heroism, he bounds through his adventure scenarios flashing the grandly confident grin of<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3499935&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<primary_category>Cannes Film Festival</primary_category><primary_category_link>http://entertainment.time.com/category/movies/cannes-film-festival/</primary_category_link><featured_image>http://timeentertainment.files.wordpress.com/2011/05/theartist.jpg?w=240</featured_image>
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			<media:title type="html">The Artist</media:title>
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			<media:title type="html">marycorliss</media:title>
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		<title>Sean Penn Leads a Fast Five Films for Friday</title>
		<link>http://entertainment.time.com/2011/05/20/sean-penn-leads-a-fast-five-films-for-friday/</link>
		<comments>http://entertainment.time.com/2011/05/20/sean-penn-leads-a-fast-five-films-for-friday/#comments</comments>
		<pubDate>Fri, 20 May 2011 17:28:49 +0000</pubDate>
		<dc:creator>Mary Corliss</dc:creator>
				<category><![CDATA[Cannes Film Festival]]></category>
		<category><![CDATA[Movies]]></category>

		<guid isPermaLink="false">http://specials.blogs.time.com/?p=1962</guid>
		<description><![CDATA[The countdown ticks toward Sunday&#8217;s Palme d&#8217;Or ceremony. With two days left, only two of the 20 film in competition are left to see. In a Festival that began with big names and high hopes, a gentle malaise has settled upon the thousands of journalists and critics who flock here each May. The most eagerly anticipated film, Terrence Malick&#8217;s The Tree of Life, had an epic vision that disappointed as many viewers as it impressed. Another hot-ticket entry, Melancholia, found many advocates but got drowned in the sea of controversy surrounding director Lars von Trier&#8217;s intemperate press conference and the Festival&#8217;s designation of him as persona non grata. Later I will file on The Artist, the one unqualified delight in the competition — though it may be too sweet and buoyant to win a top prize that is usually bestowed on weirder, more solemn fare. In the meantime, here are snapshots of a quintet of contenders. THIS MUST BE THE PLACE A distinguished Italian director ventures outside his homeland for his first film in English and and examination of the pop-world Zeitgeist. Michelangelo Antonioni managed that spectacularly well in Blowup (1966). Now Paolo Sorrentino, whose Il Divo took the Grand Jury Prize at Cannes three years ago, comes to America, enlists Oscar winners Sean Penn and Frances McDormand in his quirky enterprise, and nearly pulls off an instant assimilation into our contemporary folkways. This Must Be the Place is a weirdly engaging pastiche of minigenres: rock-star bio, American road movie  and  — hold your breath — Holocaust detective drama. It&#8217;s a mystery why Sorrentino would think of mashing Velvet Goldmine, Easy Rider and Music Box into one movie, but, bless him, he tried, and came within one unfortunate casting decision of succeeding. It&#8217;s been 20 years since Cheyenne Wyoming (Penn), a 50-something rock star from the Kiss era, hasn&#8217;t performed with the band, The Fellows. He molders away mourfully in tax-haven Ireland with his loyal wife of 35 years (McDormand, quite solid and sensible in the Sharon Osbourne role) and a debilitating<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3499934&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<primary_category>Cannes Film Festival</primary_category><primary_category_link>http://entertainment.time.com/category/movies/cannes-film-festival/</primary_category_link><featured_image>http://timeentertainment.files.wordpress.com/2011/05/must_be_place.jpg?w=240</featured_image>
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			<media:title type="html">This Must Be the Place, directed by Paolo Sorrentino</media:title>
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			<media:title type="html">marycorliss</media:title>
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		<title>Lars von Trier: &#8220;O.K., I&#8217;m a Nazi&#8221;</title>
		<link>http://entertainment.time.com/2011/05/18/lars-von-trier-o-k-im-a-nazi/</link>
		<comments>http://entertainment.time.com/2011/05/18/lars-von-trier-o-k-im-a-nazi/#comments</comments>
		<pubDate>Wed, 18 May 2011 14:51:03 +0000</pubDate>
		<dc:creator>Mary Corliss</dc:creator>
				<category><![CDATA[Cannes Film Festival]]></category>
		<category><![CDATA[Movies]]></category>

		<guid isPermaLink="false">http://specials.blogs.time.com/?p=1916</guid>
		<description><![CDATA[Within the hour, Richard Corliss will be posting his review of Lars von Trier&#8217;s (in my view, excellent) new film Melancholia, which had its world premiere this morning. But von Trier, the wildly talented, supremely maddening Danish director of such Cannes favorites as Europa/Zentropa, Breaking the Waves and Antichrist, topped himself for audacity in the press conference that followed the screening. As his stars Kirsten Dunst and Charlotte Gainsbourg looked on aghast, von Trier mused on his family&#8217;s Germanic roots and, following his own tortured logic, concluded, &#8220;O.K., I&#8217;m a Nazi.&#8221; [See UPDATE below.] Melancholia, it must be stated, has no political agenda whatsoever; it is a meditation on the end of the world and the grace or panic with which a few people face it. The director calls his film a &#8220;German romance,&#8221; but that could be because it is the love-and-death saga of two sisters facing the apocalypse, and because Wagner&#8217;s Tristan und Isolde swathes the soundtrack. The film was greeted with severely mixed early opinions, and von Trier seemed to be agreeing with the nay-sayers. &#8220;Maybe it&#8217;s crap,&#8221; he said of the movie. &#8220;Of course I hope not, but there&#8217;s quite a big possibility that this might be really not worth seeing.&#8221; Having sideswiped his current film, he talked a bit about his next project, which he said would be a four-hour porno film starring Dunst and Gainsbourg performing &#8220;a lot of very, very unpleasant sex.&#8221; From the startle on the actress&#8217;s faces, this was news to them. (More seriously, von Trier — whose 1998 The Idiots contained hard-core footage — told his biographer Nils Thorsen that his next film would be called The Nymphomaniac. &#8220;But it&#8217;s no fun if they&#8217;re just humping away all the time. Then it&#8217;ll just be a porno flick.&#8221;) Finally he launched into true and perhaps terminal von Trier form when he was asked about his national background. &#8220;For a long time I thought I was a Jew, and I was happy to be a Jew,” he said, in remarks transcribed by<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3499931&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<primary_category>Cannes Film Festival</primary_category><primary_category_link>http://entertainment.time.com/category/movies/cannes-film-festival/</primary_category_link>
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			<media:title type="html">marycorliss</media:title>
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		<title>Restless: Gus Van Sant Draws a Blank</title>
		<link>http://entertainment.time.com/2011/05/16/restless-gus-van-sant-draws-a-blank/</link>
		<comments>http://entertainment.time.com/2011/05/16/restless-gus-van-sant-draws-a-blank/#comments</comments>
		<pubDate>Mon, 16 May 2011 09:18:05 +0000</pubDate>
		<dc:creator>Mary Corliss</dc:creator>
				<category><![CDATA[Cannes Film Festival]]></category>
		<category><![CDATA[Movies]]></category>

		<guid isPermaLink="false">http://specials.blogs.time.com/?p=1875</guid>
		<description><![CDATA[The other night we had the pleasure of meeting Mia Wasikowska, the wan, wonderful young actress who has played the title roles in Alice in Wonderland and Jane Eyre and was in Cannes to promote her new film, Restless. Tall and polite, and flashing deep dimples she almost never reveals on screen, the 21-year-old Australian rhapsodized about working with director Gus Van Sant and her costar, Dennis Hopper’s 20-year-old son Henry. Restless, like We Need to Talk About Kevin, is a tale of a troubled teen (Hopper&#8217;s Enoch) who tests the exasperation level of the world around him. Unlike the Lynne Ramsay film, which leaves shivers in the viewer for days afterward, Restless recedes from the mind even as it is being watched. This is a wafer-thin tale of doomed love, between Annabel (Wasikowska), whose brain cancer leaves her just a few months to live, and Enoch, who developed the hobby of crashing funerals after his parents died in a car accident, and whose only confidant is a Japanese ghost (Ryo Kase). The whimsy falls like sap. For a quarter-century, Van Sant has drawn sympathetic portraits of young outsiders, but in directing Jason Lew’s soggy script he has drawn a blank. These are kids the world just doesn’t understand, yet they have no edges, few shades and scant access to even a sympathetic heart. Van Sant has so little confidence in the material that he wallpapers virtually every scene in pop music: Beatles songs, French ballads, soulful rock and Danny Elfman’s uncharacteristically sentimental score. What little emotive resonance Restless summons comes from the charm surgically implanted in it by the two attractive stars. Hopper — who looks like his dad as a teenager, crossed with a hint of James Dean — should some day be worth watching. Wasikowska always is, even here, where she gives her all to turning a romance-novel cliché into a good and trusting soul. She will be back in Cannes with better films.<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3499928&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<primary_category>Cannes Film Festival</primary_category><primary_category_link>http://entertainment.time.com/category/movies/cannes-film-festival/</primary_category_link>
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			<media:title type="html">marycorliss</media:title>
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		<title>We Need to Talk About Kevin: The Face of Pure Evil</title>
		<link>http://entertainment.time.com/2011/05/16/we-need-to-talk-about-kevin-the-face-of-pure-evil/</link>
		<comments>http://entertainment.time.com/2011/05/16/we-need-to-talk-about-kevin-the-face-of-pure-evil/#comments</comments>
		<pubDate>Mon, 16 May 2011 09:04:52 +0000</pubDate>
		<dc:creator>Mary Corliss</dc:creator>
				<category><![CDATA[Cannes Film Festival]]></category>
		<category><![CDATA[Movies]]></category>
		<category><![CDATA[John C. Reilly]]></category>
		<category><![CDATA[Lynne Ramsay]]></category>
		<category><![CDATA[Tilda Swinton]]></category>

		<guid isPermaLink="false">http://specials.blogs.time.com/?p=1869</guid>
		<description><![CDATA[When a child dies, it is a tragedy for the parents, an upsetting of the natural order. But when a child kills, is the parent also guilty of the crime? We Need to Talk About Kevin, Lynne Ramsay’s solid, scary film that became the talk of Cannes this weekend, burrows into a mother’s agony as she recalls the 15 years she spent watching her son hone his psychopathic instincts — until, one day at high school, he kills nine of his classmates on a bow-and-arrow murder spree. At a Festival whose competition entries often occupy a rarefied realm of austere emotions and minimalist visual style, Ramsay does not dodge the pejorative label of genre movie. “I wanted to make a psychological horror film,” she said at her press conference. She probably would not mind if her fellow Scotswoman Tilda Swinton won the Festival’s best actress award. Swinton truly deserves such a citation for her bold and acute inhabiting of Eva Khatchadoruian, a smart career woman and satisfied wife whose child drags her into the abyss of disgrace. Based on Lionel Shriver&#8217;s 2005 novel, the film is set shortly after the killings, when Eva has become a pariah in her middle-class American town, and consists mostly of flashbacks of her life with Kevin. Near the beginning, the aggrieved mother of one of Kevin’s victims spots Eva on the street and punches her hard in the face. Eva casts no blame on her attacker; she herself suffers from a vicarious, perplexed guilt. She feels she must be an accessory to Kevin’s murders because… because a mother is supposed to raise her child, lift him up from the animal state of infancy into a mature understanding of society’s moral codes. But Kevin possesses a feral cunning at the polar opposite of humanity. From his earliest days — when Eva tries to elicit Baby’s first word by asking, “Can you say ‘mommy’ for me?” and he blurts out a sudden, stubborn, “No!” — she knew he was a handful.  In one scene, long after<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3499927&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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			<media:title type="html">marycorliss</media:title>
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		<title>Wu Xia: Martial Arts Majesty</title>
		<link>http://entertainment.time.com/2011/05/15/wu-xia-martial-arts-majesty/</link>
		<comments>http://entertainment.time.com/2011/05/15/wu-xia-martial-arts-majesty/#comments</comments>
		<pubDate>Sun, 15 May 2011 17:15:08 +0000</pubDate>
		<dc:creator>Mary Corliss</dc:creator>
				<category><![CDATA[Cannes Film Festival]]></category>
		<category><![CDATA[Movies]]></category>

		<guid isPermaLink="false">http://specials.blogs.time.com/?p=1854</guid>
		<description><![CDATA[Wu Xia, which will be called Dragon when The Weinstein Company releases it in the United States, brought the Festival’s weekend slate roaring to life. An antidote to the slow, overweight Pirates of the Caribbean: On Stranger Tides, which also had its world premiere here yesterday, Peter Ho-sun Chan’s martial-arts morality play is as lithe as it is forceful, and a lesson in how to make an internationally appealing action film with taste, depth and feeling. In a village in Yunnan province in 1917, Liu Jinxi (Donnie Yen) is a modest man with a loving wife, Ayu (Lust, Caution&#8216;s Tang Wei), and two young boys. His peaceful world is ripped apart when two bandits burst into town and rob a local store. As the aged owner and his wife cower in a corner, Jinxi takes reluctant action and ultimately kills the two tough guys — one dying from an expert application of pressure to the vagas nerve known only to a few members of the 72 Demons clan from a neighboring province. These deaths arouse the interest of the investigating detective, Xu Baijin (Takeshi Kaneshiro). An advanced student of the body’s internal workings, Baijin becomes convinced that Jinxi is the notorious murderer Tang Dong, son of the 72 Demons’ Master (Jimmy Wang Yu). But if he is Tang Dong, why is he toiling as a paper-maker in this obscure hamlet? And with what fury might the killer react when he suspects the detective knows the truth? Wu Xia bears similarities to A History of Violence, the film that David Cronenberg made from the John Harris graphic novel and which had its world premiere in Cannes six years ago. To this template, Chan adds the CSI element of the diligent forensic investigator — except that here the man who strives to serve justice is also, if unwittingly, an agent of destruction and death. When the Demons learn the whereabouts of its renegade prince, they descend on the town with Armageddon in mind. First Jinxi must do battle with the clan’s reigning<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3499926&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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			<media:title type="html">Wu Xia - Donnie Yen</media:title>
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