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	<title>EntertainmentCategory: Review &#124; Entertainment &#124; TIME.com</title>
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		<title>EntertainmentCategory: Review &#124; Entertainment &#124; TIME.com</title>
		<link>http://entertainment.time.com</link>
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		<title>Before Midnight: Very True Romance</title>
		<link>http://entertainment.time.com/2013/05/23/before-midnight-very-true-romance/</link>
		<comments>http://entertainment.time.com/2013/05/23/before-midnight-very-true-romance/#comments</comments>
		<pubDate>Thu, 23 May 2013 20:06:53 +0000</pubDate>
		<dc:creator>Mary Pols</dc:creator>
				<category><![CDATA[Movies]]></category>
		<category><![CDATA[Review]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3541426</guid>
		<description><![CDATA[Director Richard Linklater’s first two Before movies represented the types of romantic scenarios you dream of when you’re young—meeting the right person at an unexpected-but-perfect time and falling in love (Before Sunrise, 1995) and then encountering them again nine years later (Before Sunset, 2004), only to find that everything you felt before was not just genuine but was still alive; a fire that somehow burned through nine years of nights, stoked only by memories. The third movie in Linklater’s series, the less joyous but even more incisive Before Midnight, exposes the underbelly of romance and not just the kind of idealized pairing that involves walks through the moonlight in Vienna and sunsets in Paris, but something more universal. It’s the counterpoint of reality to those earlier cinematic dreams. Picking up nearly a decade after the teasingly ambitious end of Sunset, Midnight takes on the resentments, both deep and unavoidable as well as petty and pointless, of a long relationship and focuses on the work of being together. We always knew Jesse (Ethan Hawke) and Celine (Julie Delpy) were capable of fighting because they were both full of such fierce convictions, but this is the film where flirtatious sparring turns into a verbal battle. Before Midnight is too frank and funny to ever be a drag, but it confronts head on something true believers in the earlier films has had to or will have to face, the possibility that even the most exciting love affair grows tired. (READ: Steve Snyder&#8217;s Q&#38;A with Ethan Hawke) Each of these movies can stand alone and has—no one knew what the Before series could become, back in 1994 when Linklater grabbed a screenplay, a camera, the 23 year-old Delpy, French and not yet much known in America; and Hawke, a rising American star; and started shooting—but as a whole, they represent a powerful and unique portrait of contemporary love and life, this generation&#8217;s answer to Francois Truffaut&#8217;s Antoine Doinel series. In this era of sequels and stories broken into fragments to make more money (and not just trash like<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3541426&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<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/2013/05/before_midnight_4.jpg?w=240</featured_image>
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			<media:title type="html">Before Midnight</media:title>
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			<media:title type="html">marypols</media:title>
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		<title>All Is Lost: Robert Redford Is Our Man</title>
		<link>http://entertainment.time.com/2013/05/23/all-is-lost-robert-redford-is-our-man/</link>
		<comments>http://entertainment.time.com/2013/05/23/all-is-lost-robert-redford-is-our-man/#comments</comments>
		<pubDate>Thu, 23 May 2013 10:30:57 +0000</pubDate>
		<dc:creator>Mary Corliss</dc:creator>
				<category><![CDATA[Cannes Film Festival]]></category>
		<category><![CDATA[Movies]]></category>
		<category><![CDATA[Review]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3541505</guid>
		<description><![CDATA[A man sails the Indian Ocean alone on his 37-foot yacht, 1700 nautical miles from the Sumatra Straits. He is awoken one morning by a crash: a metal container off a cargo ship has struck his boat, perforating and flooding it, disabling all communication. The man fights resourcefully to repair the damage and battle the elements: blistering sun, a violent storm. After eight debilitating days, with only a half-day’s worth of rations left and virtually no hope for rescue, it seems that all is lost. J.C. Chandor&#8217;s All Is Lost strips the conventional action movie to its essentials. One confined setting. Virtually no dialogue. And a man with only the sailing skills and self-determination to make a go of survival. His boat is called the Virginia Jean, but he is the man with no name, no knowable past, no loved ones nor enemies back home to give his quest familiar emotional moorings. In a way, Chandor set himself and his audience the same restrictions as his protagonist. They would discover who the man is by what he can do. And by who plays him: Robert Redford. (READ: Mary Corliss on Robert Redford&#8217;s The Company You Keep) All Is Lost, which had its world premiere at Cannes before opening in U.S. theaters this October, stocks its 105 minutes with enough seafaring challenges and adventure to keep mainstream audiences fascinated, fraught and rooting for the person identified in the closing credits as “Our Man.” Yet it is also an arguably unique exercise in storytelling: both a work of cinematic innovation and a thrilling demonstration of the ancient maxim that action is character. Other films about a man alone on the water look positively profligate by comparison. Spencer Tracy played a Cuban fisherman in the 1958 The Old Man and the Sea, but he was on land with others at the beginning and the end. In 1963, Japanese director Kon Ichikawa retold the true story of a man who sailed from Osaka to San Francisco in Alone on the Pacific; there, flashbacks provided clues<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3541505&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<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/2013/05/redford_0523.jpg?w=240</featured_image>
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			<media:title type="html">marycorliss</media:title>
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		<title>The Hangover Part III: The Third Time&#8217;s the Harm</title>
		<link>http://entertainment.time.com/2013/05/22/the-hangover-part-iii-the-third-times-the-harm/</link>
		<comments>http://entertainment.time.com/2013/05/22/the-hangover-part-iii-the-third-times-the-harm/#comments</comments>
		<pubDate>Wed, 22 May 2013 23:43:08 +0000</pubDate>
		<dc:creator>Mary Pols</dc:creator>
				<category><![CDATA[Movies]]></category>
		<category><![CDATA[Review]]></category>
		<category><![CDATA[Bradley Cooper]]></category>
		<category><![CDATA[Ed Helms]]></category>
		<category><![CDATA[The Hangover]]></category>
		<category><![CDATA[Todd Phillips]]></category>
		<category><![CDATA[Zach Galifianakis]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3541351</guid>
		<description><![CDATA[Todd Phillips’ deliberately offensive films have always courted controversy but The Hangover Part III marks a tonal shift for his successful franchise. The movie is so aggressively nasty and barely funny that it feels as though Phillips is trying to cull his own wolfpack down to only the most hardcore fans. The tagline on The Hangover Part III’s posters is “THE END” and there may be some wish fulfillment implied. The Hangover Part III gives off such a stench of creative decay that it hardly seems possible that even Phillips or his co-writers have any use for the movie themselves. If a movie can be self-loathing and self-destructive, it’s this one. Even the impetus behind the journey, which does include a trip back to Las Vegas, the scene of the wickedly fun original, is bleak. Instead of a rollicking bachelor party enhanced by drugs, there’s a funeral, followed by an intervention. Alan (Zack Galifianakis) has been off his meds for six months when the movie begins. He is enticed to enter a treatment facility in Arizona by a promise that  Phil (Bradley Cooper) and the rest of the Wolfpack, Stu (Ed Helms) and the guy who always gets left behind, Alan’s brother-in-law Doug (Justin Bartha), will drive him there. Of course, the trip to Arizona is derailed—and the purpose of it completely forgotten—by an encounter with a drug lord-type named Marshall (John Goodman) and his henchmen, including “Black Doug” from the first film. Marshall demands the guys find and bring him Mr. Chow (Ken Jeong), who double-crossed him around the time of the first Hangover. (READ: Proof that our reviewer actually took some pleasure in The Hangover franchise in the past) Alan’s specific mental-health issue has remained vague throughout the series but whatever it is, it leads to some spectacularly dunderheaded and mean behavior. In his first scene in The Hangover Part III, Alan drives down the freeway pulling a wagon with a giraffe upright in it. It’s his new pet. The giraffe is obviously almost entirely computer-generated but still looks smart, soulful, friendly. It is<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3541351&#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/2013/05/ho3-15555r.jpg?w=240</featured_image>
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		<media:content url="http://timeentertainment.files.wordpress.com/2013/05/ho3-15555r.jpg?w=240" medium="image">
			<media:title type="html">The Hangover Part III</media:title>
		</media:content>

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			<media:title type="html">marypols</media:title>
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		<item>
		<title>Only God Forgives: A Red Light for Ryan Gosling</title>
		<link>http://entertainment.time.com/2013/05/22/only-god-forgives-a-red-light-for-ryan-gosling/</link>
		<comments>http://entertainment.time.com/2013/05/22/only-god-forgives-a-red-light-for-ryan-gosling/#comments</comments>
		<pubDate>Wed, 22 May 2013 18:15:59 +0000</pubDate>
		<dc:creator>Richard Corliss</dc:creator>
				<category><![CDATA[Cannes Film Festival]]></category>
		<category><![CDATA[Movies]]></category>
		<category><![CDATA[Review]]></category>
		<category><![CDATA[drive]]></category>
		<category><![CDATA[Kristin Scott Thomas]]></category>
		<category><![CDATA[Only God Forgives]]></category>
		<category><![CDATA[Rhantha Phongam]]></category>
		<category><![CDATA[Ryan Gosling]]></category>
		<category><![CDATA[Vithaya Pansringarm]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3541395</guid>
		<description><![CDATA[Ryan Gosling sent a note of apology for his absence on the Cannes red carpet for his role in Nicholas Winding Refn&#8217;s Only God Forgives. &#8220;I can&#8217;t believe that I&#8217;m not in Cannes with you,&#8221; Gosling wrote. &#8220;I was hoping to be coming but I am in the third week of shooting my movie [his directorial debut with How to Catch a Monster]. I miss you all. Nicolas, my friend, we really are the same, simply in different worlds and I am sending you good vibrations. I am with you all.&#8221; Emailing from Detroit, Gosling put more emotion and craft into that note than he displays in his reunion with the Danish auteur of Drive, which won the Best Director prize when it premiered at Cannes two years ago. Here the star plays Julian, an American hoodlum holed up in Bangkok, where he runs a kickboxing arena as a front for the international drug-smuggling syndicate run by his venomish mother Crystal (Kristin Scott Thomas). When his horrible brother Billy (Tom Burke) is murdered for raping and killing a young prostitute, Crystal flies in from the States to wreak the vengeance Julian won&#8217;t. On their trail is a Thai detective, Chang (Vithaya Pansringarm), who, went not singing sentimental karaoke at the local night spots, behaves like an Old Testament God who&#8217;d rather decapitate a man than forgive him. (READ: Jessica Winter&#8217;s review of Drive) Only God Forgives works overtime to be that species of art film known as the Authentic Weirdie. English is the main language spoken here, but the movie&#8217;s opening title is in Thai. The picture boasts glamorous moping from Gosling and a bold, deadpan-comic crazy-mama performance from Scott Thomas. Cinematographer Larry Smith, who worked on Stanley Kubrick&#8217;s Barry Lyndon, The Shining and Eyes Wide Shut, paints with a studiously garish palette; the film could be called The Red and the Black. Black is for the sins committed after dark, and red is a vision of Hell imagined as a literally bleeding heart. Or maybe another internal organ. At the press conference, Winding Refn said<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3541395&#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/2013/05/048159-1-e1369237189293.jpg?w=240</featured_image>
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			<media:title type="html">Only God Forgives</media:title>
		</media:content>

		<media:content url="http://1.gravatar.com/avatar/71233c5a174d2a77a4b43d4ad39c3968?s=96&#38;d=http%3A%2F%2F1.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D96&#38;r=G" medium="image">
			<media:title type="html">Richard Corliss</media:title>
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	</item>
		<item>
		<title>As I Lay Dying: James Franco Does William Faulkner</title>
		<link>http://entertainment.time.com/2013/05/22/as-i-lay-dying-james-franco-does-william-faulkner/</link>
		<comments>http://entertainment.time.com/2013/05/22/as-i-lay-dying-james-franco-does-william-faulkner/#comments</comments>
		<pubDate>Wed, 22 May 2013 08:40:13 +0000</pubDate>
		<dc:creator>Mary Corliss</dc:creator>
				<category><![CDATA[Cannes Film Festival]]></category>
		<category><![CDATA[Movies]]></category>
		<category><![CDATA[Review]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3541362</guid>
		<description><![CDATA[A Ph.D. candidate in English literature at Yale University recently wrote a review of the Baz Luhrmann movie adaptation of Scott Fitzgerald&#8217;s The Great Gatsby. &#8220;The critics who’ve ravaged the film for not being loyal to the book are hypocrites,&#8221; he wrote. &#8220;These people make their living doing readings and critiques of texts in order to generate theories of varying levels of competency. Luhrmann’s film is his reading and adaptation of a text – his critique, if you will.&#8221; (READ: Richard Corliss on The Great Gatsby) That graduate student, James Franco, has also been a film actor of some note. Now he is the star and director of a film based on another famous novel written in the 1920s, William Faulkner&#8216;s As I Lay Dying. Franco&#8217;s comments on movie critics nitpicking a Gatsby might have been a preemptive strike against reviews of his new picture, which has received its world premiere at the Cannes Film Festival in the Un Certain Regard section. And the movie, whose script he adapted with his Yale classmate Matt Rager, could be an elaborate summer project: attempting to find a cinematic language for Faulkner’s text — Franco&#8217;s critique, if you will. The effort is honorable, a mixture of mannerism and earned emotion. (READ: Is James Franco the 21st Century&#8217;s First Great Public Intellectual?) “My father used to say that the reason for living was to get ready to stay dead a long time.” The speaker is Addie Bundren (Beth Grant), matriarch of a clan of Mississippi misfortunates that comprises her husband Anse (Tim Blake Nelson), her four sons Cash (Jim Parrack), Jewel (Logan Marshall-Green), Darl (Franco) and Vardaman (Brady Permenter), the youngest, and her teenage daughter Dewey Dell (Ahna Reilly). As Addie lays dying, Cash saws away outside in the rain fashioning her coffin. Jewel tames a beloved horse, Darl goes into town on a fool&#8217;s errand and Vardaman returns home with a fish about as big as he is. Death for Addie might be a reprieve from the veil of tears that life in this rural<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3541362&#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/franco_cannes_0522.jpg?w=240</featured_image>
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			<media:title type="html">franco_cannes_0522</media:title>
		</media:content>

		<media:content url="http://1.gravatar.com/avatar/71233c5a174d2a77a4b43d4ad39c3968?s=96&#38;d=http%3A%2F%2F1.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D96&#38;r=G" medium="image">
			<media:title type="html">Richard Corliss</media:title>
		</media:content>
	</item>
		<item>
		<title>Seduced and Abandoned: The Dirty, Funny Business of Movies</title>
		<link>http://entertainment.time.com/2013/05/20/seduced-and-abandoned-the-dirty-funny-business-of-movies/</link>
		<comments>http://entertainment.time.com/2013/05/20/seduced-and-abandoned-the-dirty-funny-business-of-movies/#comments</comments>
		<pubDate>Tue, 21 May 2013 01:10:47 +0000</pubDate>
		<dc:creator>Richard and Mary Corliss</dc:creator>
				<category><![CDATA[Cannes Film Festival]]></category>
		<category><![CDATA[Movies]]></category>
		<category><![CDATA[Review]]></category>
		<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[Alec Baldwin]]></category>
		<category><![CDATA[Avi Lerner]]></category>
		<category><![CDATA[Bernardo Bertolucci]]></category>
		<category><![CDATA[Diane Kruger]]></category>
		<category><![CDATA[Francis Ford Coppola]]></category>
		<category><![CDATA[James Toback]]></category>
		<category><![CDATA[Jessica Chastain]]></category>
		<category><![CDATA[Martin Scorsese]]></category>
		<category><![CDATA[Roman Polanski]]></category>
		<category><![CDATA[Ryan Gosling]]></category>
		<category><![CDATA[Seduced and Abandoned]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3541079</guid>
		<description><![CDATA[&#8220;These look like two gentlemen waiting to give me money,&#8221; Alec Baldwin whispers to his pal James Toback as they approach a pair of businessmen at last year&#8217;s Cannes Film Festival. They have come to the world&#8217;s largest movie market in hopes of raising money for a loose remake of Last Tango in Paris, Bernardo Bertolucci&#8217;s supercharged sex drama that starred Marlon Brando and Maria Schneider. The new film, set in Iraq during the U.S. occupation, might be called Last Tango in Tikrit; it is to star Baldwin as a CIA officer — more or less the Brando role — and Neve Campbell as a left-wing journalist who gets down and dirty with him. The phalanx of film critics, who review the artistically ambitious films in competition, and the celebrity reporters, angling for five minutes with Leo DiCaprio, are all missing the crucial point made by Toback&#8217;s splendidly raffish documentary Seduced and Abandoned: that Cannes is really about money, and the biggest deals are not for a Palme d&#8217;Or winner like last year&#8217;s Amour but for hundreds of action pictures, cut-rate space epics and horror-thons — in other words, movies. There&#8217;s a reason it&#8217;s called show business. Every businessman here is looking for a movie that will reach profit, not win the Gotham Film Award. Producer Avi Lerner ascends to magnificent contempt when talking about the Festival&#8217;s official art films: &#8220;The only people who go are their mothers and cousins.&#8221; (READ: More from Richard and Mary Corliss at Cannes 2013) W. Somerset Maugham, who lived here for years, called Cannes &#8220;a sunny place for shady people.&#8221; And, in the market, smart people, who will not easily be parted from their money. So it is not a SPOILER to say that few financiers are waiting to lavish cash on the film pitched by Baldwin, the TV star aching to get back big in pictures, and Toback, who in a 40-year career has been able to direct only eight scripted features and the 2008 documentary Tyson. To international plutocrats ignorant of Baldwin’s seven-year run in 30<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3541079&#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/2013/05/680x478.jpeg?w=240</featured_image>
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			<media:title type="html">Seduced and Abandoned</media:title>
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			<media:title type="html">richardandmary</media:title>
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		<title>Fast and Furious 6: Faster, Crazycars! Thrill Thrill!</title>
		<link>http://entertainment.time.com/2013/05/20/furious-6-faster-crazycars-thrill-thrill/</link>
		<comments>http://entertainment.time.com/2013/05/20/furious-6-faster-crazycars-thrill-thrill/#comments</comments>
		<pubDate>Mon, 20 May 2013 16:47:36 +0000</pubDate>
		<dc:creator>Richard Corliss</dc:creator>
				<category><![CDATA[Movies]]></category>
		<category><![CDATA[Review]]></category>
		<category><![CDATA[Chris Morgan]]></category>
		<category><![CDATA[Dwayne Johnson]]></category>
		<category><![CDATA[Fast & Furious 6]]></category>
		<category><![CDATA[Furious 6]]></category>
		<category><![CDATA[gina carano]]></category>
		<category><![CDATA[Justin Lin]]></category>
		<category><![CDATA[Luke Evans]]></category>
		<category><![CDATA[Michelle Rodriguez]]></category>
		<category><![CDATA[Paul Walker]]></category>
		<category><![CDATA[vin diesel]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3541029</guid>
		<description><![CDATA[Vin Diesel could be his own oversize action toy — slablike, solid and smooth, stripped of all cranial, facial or underarm hair — or the mammoth statue of a god erected by primitive tribes. Dwayne Johnson is that deity but even more imposing, and a marvel when he springs into liquid motion. Called the Samoan Thor, he is the irresistible force to Diesel&#8217;s immovable object; and when they fight a gang of enemies, or each other, the heavens seem ready to explode with their practiced wrath. Johnson hitched a ride on the Fast &#38; Furious franchise two years ago, in Fast Five, as DEA Officer Luke Hobbs, determined to bring to justice Diesel&#8217;s multiracial, girls-allowed gang of carnappers. This time he has promised them all full pardons if they bring down a cyberterrorist named Shaw (Luke Evans), who has acquired a microchip that will shut down all U.S. military computers for 24 hours. Big deal, you say — the software that should pay veterans&#8217; benefits has been inoperable for years. Still, Dominic Toretto (Diesel) agrees to the deal. His mates aren&#8217;t so sure. &#8220;So,&#8221; says Han Seoul-oh (Sung Kang), &#8220;now we work for the Hulk?&#8221; No, the Rock. (READ: Corliss&#8217;s review of Fast Five) Are Toretto and Hobbs human? Not really, by the standards of traditional movies, which demand behavioral nuance and emotional compromise and men fretting. Are the guys superhuman? Sure; the F&#38;F films are big-screen comic books without the Marvel mythology. But above all, Dom and Hobs are posthuman. Fast Five heralded the New Hollywood&#8217;s exaltation of sensational action over subtle character. Fast and Furious 6 revs everything up, purifies and improves it. The fourth F&#38;F movie to be directed by Justin Lin and written by Chris Morgan, Furious 6 is even cooler and more aerodynamically delirious than its predecessor, if such a thing is even theoretically possible. Five movies after The Fast and the Furious, the 2001 original (which was a loose remake of a 1955 film produced by Roger Corman), what&#8217;s left to do with cars? Well,<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3541029&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<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/2013/05/2418_dn_tnk_4795_v034_1001.jpg?w=240</featured_image>
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			<media:title type="html">Fast and Furious 6</media:title>
		</media:content>

		<media:content url="http://1.gravatar.com/avatar/71233c5a174d2a77a4b43d4ad39c3968?s=96&#38;d=http%3A%2F%2F1.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D96&#38;r=G" medium="image">
			<media:title type="html">Richard Corliss</media:title>
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		<title>Frances Ha: A Millennial Annie Hall</title>
		<link>http://entertainment.time.com/2013/05/17/frances-ha-a-millenial-annie-hall/</link>
		<comments>http://entertainment.time.com/2013/05/17/frances-ha-a-millenial-annie-hall/#comments</comments>
		<pubDate>Fri, 17 May 2013 05:07:57 +0000</pubDate>
		<dc:creator>Mary Pols</dc:creator>
				<category><![CDATA[Movies]]></category>
		<category><![CDATA[Review]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3540289</guid>
		<description><![CDATA[Someone asked me if director Noah Baumbach’s Frances Ha is a coming-of-age story. The answer gave me pause. A floundering 27-year-old named Frances (Greta Gerwig) does move closer to adulthood in the course of the movie. But Baumbach’s winning and provocative film, co-written with his Greenberg star Gerwig, is more about the fierce importance of friendships in that drifty time when “real” life is supposed to begin but the start button remains worrisomely hard to locate. While it treads much of the same ground as Gerwig&#8217;s earlier film Lola Versus and Lena Dunham’s Girls — well-educated, artsy 20-somethings struggling professionally and personally in New York City — Frances Ha is focused on a genuine life issue that doesn’t get much play in movies: the challenges of platonic love and the complicated passions of friendship. Frances is fond of telling people that she and her best friend Sophie (Mickey Sumner) “are the same person with different hair.” They went to college together at Vassar and, at the beginning of the movie, share an apartment in Brooklyn and take “sips” off each other’s cigarettes. The screenplay is a smart jumble of observed scraps of conversation that make sense only to the two of them and tend to the sweetly inane. “Are you drunk?” Frances giggles to Sophie on the phone. “I love you. Dumpling House!” Listening, her boyfriend eyes her balefully; there’s no room for him in this equation. Sophie is Frances’ person and, Frances thinks, vice versa. They intend to have great professional success, receive many honorary degrees between them and have no children; Sheryl Sandberg wouldn’t have to tell them to lean in. (MORE: TIME&#8217;s Review of Lola Versus) Or that’s what they’d like to think. In truth, Sophie has a decent career in publishing, not exactly a thriving industry, and Frances is barely hanging on to an apprenticeship at a modern-dance company. (She may be the world’s clumsiest aspiring modern dancer. Whereas in romantic comedies when the beautiful starlet is forced to take a fall or be smeared with ice cream<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3540289&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<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/2013/05/still1-1.jpg?w=240</featured_image>
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			<media:title type="html">Frances Ha</media:title>
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			<media:title type="html">marypols</media:title>
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		<title>Star Trek Into Darkness: The Young and the Reckless</title>
		<link>http://entertainment.time.com/2013/05/13/star-trek-into-darkness-the-young-and-the-reckless/</link>
		<comments>http://entertainment.time.com/2013/05/13/star-trek-into-darkness-the-young-and-the-reckless/#comments</comments>
		<pubDate>Mon, 13 May 2013 19:01:26 +0000</pubDate>
		<dc:creator>Richard Corliss</dc:creator>
				<category><![CDATA[Movies]]></category>
		<category><![CDATA[Review]]></category>
		<category><![CDATA[Alice Eve]]></category>
		<category><![CDATA[Anton Yelchin]]></category>
		<category><![CDATA[Benedict Cumberbatch]]></category>
		<category><![CDATA[Bruce Greenwood]]></category>
		<category><![CDATA[Chris Pine]]></category>
		<category><![CDATA[Drat Abnormal Icon]]></category>
		<category><![CDATA[Gene Roddenberry]]></category>
		<category><![CDATA[J.J. Abrams]]></category>
		<category><![CDATA[John Cho]]></category>
		<category><![CDATA[Karl Urban]]></category>
		<category><![CDATA[Peter Weller]]></category>
		<category><![CDATA[Simon Pegg]]></category>
		<category><![CDATA[Star Trek Into Darkness]]></category>
		<category><![CDATA[zachary quinto]]></category>
		<category><![CDATA[Zoe Saldana]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3539793</guid>
		<description><![CDATA[Those madcap galoots, Captain James T. Kirk (Chris Pine) and &#8220;Bones&#8221; McCoy (Karl Urban), are trying to escape a band of chalk-faced aboriginals on the Class-M planet Nibiru. Having broken a Starfleet rule by intervening in a prehistoric civilization, they run for their lives, like Bob Hope and Bing Crosby hightailing it out of Zanzibar after one of their schemes went kaflooey. Reaching a cliff, with the natives in angry pursuit, Jim and Bones leap desperately toward the water far below. Now they&#8217;re Butch and Sundance, in every way except for yelling, &#8220;S—!&#8221; as they plummet to safety. They&#8217;re just one Enterprise crew member short of being the Three Stooges. Actually, Moe — Mr. Spock (Zachary Quinto) — is trapped nearby in an erupting volcano, its spewing lava reminiscent of the kitsch special effects from the 1940 One Million B.C., but in 3-D and gaudy color. Kirk, back on the Enterprise, ignores another Starfleet dictum and flies into the inferno to rescue Spock; the primitive Nibirians gape at the spacecraft with the same perplexed wonder as the apes at the 2001 monolith. When the Enterprise returns to Earth, Rear Admiral Christopher Pike (Bruce Greenwood) demotes Kirk to Starfleet Academy and separates him from Spock. Pike might be an exasperated homeroom teacher forced to keep two troublemakers apart — or a father regretting that he gave his reckless teen son the keys to the starship. (READ: Can the new Star Trek Make Science Fiction Fun Again?) Any prequel series to a movie franchise is obliged to imagine younger versions of famous characters. We know from the Star Trek TV series, spawned in 1966 by Gene Roddenberry, and from the six subsequent feature films starring William Shatner and Leonard Nimoy, that Kirk is the man of action, Spock the half-Vulcan half-man of thought. J.J. Abrams applied that dichotomy to his 2009 Star Trek reboot and now to the first sequel to the prequel, Star Trek Into Darkness. (Abrams has his plate full with revered sci-fi franchises. Disney has entrusted him with reviving Star Wars.) (READ: Mary Pols&#8217; review<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3539793&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<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/2013/01/76251355166072-hh-27766r.jpg?w=240</featured_image>
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			<media:title type="html">Star Trek Into Darkness</media:title>
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			<media:title type="html">Richard Corliss</media:title>
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		<title>Stories We Tell: Sarah Polley&#8217;s Meta Masterpiece</title>
		<link>http://entertainment.time.com/2013/05/09/stories-we-tell-sarah-polleys-meta-masterpiece/</link>
		<comments>http://entertainment.time.com/2013/05/09/stories-we-tell-sarah-polleys-meta-masterpiece/#comments</comments>
		<pubDate>Fri, 10 May 2013 03:30:03 +0000</pubDate>
		<dc:creator>Mary Pols</dc:creator>
				<category><![CDATA[Movies]]></category>
		<category><![CDATA[Review]]></category>
		<category><![CDATA[Sarah Polley]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3539444</guid>
		<description><![CDATA[Director Sarah Polley’s documentary Stories We Tell revolves around her parentage. Can I leave it at that, and tell you no more? I’d like every viewer to have a chance to experience the movie&#8217;s slow reveals, rather than have its mysteries summarized in a few neat declarative sentences. Suffice it to say, there are family secrets. At one point in the film, Polley tells her sister “I can’t figure out why I’m exposing us all in this way. It’s really embarrassing.” But while the secret, which Polley herself didn’t know until 2006, is titillating, it’s not as intriguing as the style of the filmmaking, which leans more toward creative non-fiction than traditional documentary. Stories We Tell is blatantly sly, nudging the viewer to question everything they&#8217;re hearing and seeing. It&#8217;s also playfully meta—Polley’s considerable celebrity in Canada has an obvious impact on some of the secret-keepers—but without being mannered or precious. Yet despite this somewhat elastic structure, Polley renders her portrait of family love and identity in such a heartfelt, pure way that at the end, I had tears running down my face. As a narrative, Stories We Tell isn&#8217;t entirely trustworthy, but ultimately, it&#8217;s emotional content can absolutely be trusted. The most obviously captivating member of the Polley clan is one we glimpse only in photographs and home movies—Diane, the actress mother who died of cancer when Polley was 11 and just starting her own acting career as the star of the popular Canadian television series Road to Avonlea. But the director herself, hovering on the sidelines, is equally seductive. You&#8217;ll likely fall for the mind behind this strange project, presuming you didn’t fall for Sarah Polley long ago, when she was the coolest girl in Hollywood, starring in movies like 1999’s Go or 2000’s The Claim or later, when she turned into the kind of formidable young woman who could successfully adapt Alice Munro for the screen (into Away From Her) before she turned 27. (READ: Mary Corliss on Stories We Tell at last year&#8217;s Venice Film Festival) In a recent video interview<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3539444&#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>
		</media:content>

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			<media:title type="html">marypols</media:title>
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		<title>Luhrmann&#8217;s The Great Gatsby: From Jazz Age to Baz Age</title>
		<link>http://entertainment.time.com/2013/05/09/luhrmanns-the-great-gatsby-from-jazz-age-to-baz-age/</link>
		<comments>http://entertainment.time.com/2013/05/09/luhrmanns-the-great-gatsby-from-jazz-age-to-baz-age/#comments</comments>
		<pubDate>Thu, 09 May 2013 18:30:54 +0000</pubDate>
		<dc:creator>Richard Corliss</dc:creator>
				<category><![CDATA[Movies]]></category>
		<category><![CDATA[Review]]></category>
		<category><![CDATA[Baz Luhrmann]]></category>
		<category><![CDATA[carey mulligan]]></category>
		<category><![CDATA[Catherine Martin]]></category>
		<category><![CDATA[F. Scott Fitzgerald]]></category>
		<category><![CDATA[Joel Edgerton]]></category>
		<category><![CDATA[leonardo dicaprio]]></category>
		<category><![CDATA[The Great Gatsby]]></category>
		<category><![CDATA[Tobey Maguire]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3539542</guid>
		<description><![CDATA[The Great Gatsby. The title raises two immediate questions, one of which is easily answered. Why is Gatsby great? Because F. Scott Fitzgerald&#8217;s 1925 novel embraces all the urgencies of the decade he dubbed &#8220;the Jazz Age&#8221;: the fast cars and easy money, the plentiful booze (Prohibition made liquor cheaper) and available sex, the nexus of big business on Wall Street and in the underworld, all appraised in luscious prose. Selling only 20,000 copies in its first years of publication (Fitzgerald&#8217;s first two novels, The Far Side of Paradise and The Beautiful and Damned, each sold about 50,000), Gatsby now moves that many copies every month. The book stays in print, and in fashion, because it addresses, as scholar Matthew Bruccoli noted in the 2000 BBC documentary The Great Gatsby: Midnight in Manhattan, &#8220;the ways in which the American dream has rewarded its believers and betrayed its believers.&#8221; Eighty-eight years after its publication, Gatsby remains as modern, youthful and shimmering as the creatures in it. A second, thornier question: Why is Gatsby great? Jay Gatsby, a mysterious figure in Manhattan and Long Island lore, attracts thousands of revelers to his sensational parties either because the guests don&#8217;t know the source of his wealth or because they do, and that knowledge gives them the thrill of vicarious outlawry. Born James Gatz (&#8220;gat&#8221; was &#8217;20s slang for a gangster&#8217;s pistol) to a Midwestern family of no particular means, he reinvents himself as a bootlegger with a dandy&#8217;s suave manners. He accumulated all this swag and notoriety in hopes of winning back Daisy Fay, the girl he left behind in Louisville, and who is now married to the aristocratic brute Tom Buchanan. Nick Carraway, Daisy&#8217;s second cousin and the book&#8217;s narrator, sees greatness in Gatsby&#8217;s abounding hope. But to Tom, and perhaps to Daisy, Gatsby&#8217;s new money is tainted, and so is he. (READ: Our 1925 review of The Great Gatsby by subscribing to TIME) Any movie of Fitzgerald&#8217;s novel has to take Nick&#8217;s view: that Gatsby is the noble man and Tom the thug;<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3539542&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<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/2013/05/gg-08424r2.jpg?w=240</featured_image>
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			<media:title type="html">Great Gatsby</media:title>
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		<media:content url="http://1.gravatar.com/avatar/71233c5a174d2a77a4b43d4ad39c3968?s=96&#38;d=http%3A%2F%2F1.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D96&#38;r=G" medium="image">
			<media:title type="html">Richard Corliss</media:title>
		</media:content>
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		<title>What Maisie Knew: The Parents From Hell</title>
		<link>http://entertainment.time.com/2013/05/02/what-maisie-knew-the-parents-from-hell/</link>
		<comments>http://entertainment.time.com/2013/05/02/what-maisie-knew-the-parents-from-hell/#comments</comments>
		<pubDate>Fri, 03 May 2013 03:30:56 +0000</pubDate>
		<dc:creator>Mary Pols</dc:creator>
				<category><![CDATA[Movies]]></category>
		<category><![CDATA[Review]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3538831</guid>
		<description><![CDATA[Most people with children have experienced the fear, however brief, that they might be rotten parents. Scott McGehee and David Siegel’s unsettling, exquisitely acted film What Maisie Knew is just the tonic to put it all in perspective. Its two principal adult characters, Susanna (Julianne Moore) and Beale (Steve Coogan) are truly rotten parents, unredeemable so. After watching them ignore and neglect their young daughter Maisie (played by the astonishing Onata Aprile) for 99 minutes, I felt as virtuous as Cliff or Clair Huxtable. These three characters spring from Henry James’ 1897 novella What Maisie Knew but have been modernized into 21st century Manhattanites by screenwriters Nancy Doyne and Carroll Cartwright. Susanna is a rock singer whose star seems to be fading, although she can still rally a crowd of male sycophants to her living room to smoke and drink and discuss her “sound.” Beale, Maisie’s father is a disheveled, professorial sort who deals in art. As the movie begins, he and Susanna — living together, but not married — are already fighting, about money mostly, and how little of it he contributes, although the arguments are  just vague background noise. The movie is focused on Maisie’s point of view, functioning as her eyes and ears, and McGeehee and Siegel have turned the parental disputes into something akin to how Charlie Brown et al. hear adults: all jumbled tones, with an emphasis on ire. After one of these fights, Beale leaves and Susanna changes the locks. They&#8217;re done and she&#8217;s determined to protect her property, a category poor Maisie definitely falls into. But Beale nonetheless absconds with something valuable, the lovely Scottish nanny Margo (Joanna Vanderham). Susanna, who is to Moore’s inconsiderate, self-absorbed character from The Kids Are All Right what Hurricane Sandy was to that last gentle spring rain, figures out he’s done more than swipe the nanny when Maisie details the sleeping arrangements at Daddy’s new apartment. Meanwhile, she hires her own new nanny, Mrs. Wix, another character straight out of James, a fusty old lady played by Paddy Croft. Maisie<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3538831&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<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/2012/09/rexusa_828905e.jpg?w=240</featured_image>
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			<media:title type="html">TIFF What Maisie Knew</media:title>
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			<media:title type="html">marypols</media:title>
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		<title>Love is All You Need: A Rom-Com for Adults</title>
		<link>http://entertainment.time.com/2013/05/02/love-is-all-you-need-a-rom-com-for-adults/</link>
		<comments>http://entertainment.time.com/2013/05/02/love-is-all-you-need-a-rom-com-for-adults/#comments</comments>
		<pubDate>Fri, 03 May 2013 03:30:41 +0000</pubDate>
		<dc:creator>Mary Pols</dc:creator>
				<category><![CDATA[Movies]]></category>
		<category><![CDATA[Review]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3538770</guid>
		<description><![CDATA[Fellow Mama Mia! haters, I understand how much you might fear Love is All You Need. On the surface there are so many similarities: the setting a destination wedding in the Mediterranean (in this case, Italy’s Amalfi Coast rather than a Greek island), a quirky mother of the bride and the elegant presence of Pierce Brosnan, standing around looking slightly aloof yet dreamy. But director and co-writer Susanne Bier’s (Brothers, Open Hearts) movie is a far more thoughtful, gentle look at love and family; it’s the art-house version of a good Hollywood rom-com. Ultimately, instead of calling to mind Mama Mia! it feels more reminiscent of two 2000 films, Bread and Tulips and the Dogme film Italian for Beginners. The movie, which is subtitled and alternates between Danish, Italian and a smattering of English, starts with a glowing bride, Astrid (Molly Blixt Egelind, who has even better blonde tresses than Gwyneth Paltrow) and her nervous groom Patrick (Sebastian Jessen) arriving in Italy to get his family’s vacation home ready for their wedding. The villa is set among lemon groves, has gardens with balconies built over the sea and stairs down to secret beaches. But the house has been abandoned for years; Patrick’s irascible father Philip (Brosnan) couldn’t bear to spend time there after his wife’s untimely death. Even when he&#8217;s as cranky as Philip, the sad widower is really the dream stuff of romantic comedies (see: Sleepless in Seattle). The widower is a seasoned love interest, but no culpability, no legal proceedings required, and no obligations but grieving. Philip’s own sister-in-law, Benedikte, played by the marvelous Allison Janney look-a-like Paprika Steen, practically has to wipe the drool over her chin whenever she’s around him. Would that someone would write a contemporary romance where everyone is in hot pursuit of a widow over 50. With a fine prospect like this about, is there a clumsy but good-hearted woman around? Maybe one who doesn’t know her own beauty or has been maligned by her own spouse, or better yet, both? Enter Ida (Trine<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3538770&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<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/2013/05/1.jpg?w=240</featured_image>
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			<media:title type="html">Love Is All You Need</media:title>
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			<media:title type="html">marypols</media:title>
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		<title>Michael Shannon in The Iceman: A Stone-Cold Killer</title>
		<link>http://entertainment.time.com/2013/05/02/michael-shannon-in-the-iceman-a-stone-cold-killer/</link>
		<comments>http://entertainment.time.com/2013/05/02/michael-shannon-in-the-iceman-a-stone-cold-killer/#comments</comments>
		<pubDate>Thu, 02 May 2013 09:45:59 +0000</pubDate>
		<dc:creator>Richard Corliss</dc:creator>
				<category><![CDATA[Movies]]></category>
		<category><![CDATA[Review]]></category>
		<category><![CDATA[Ariel Vroman]]></category>
		<category><![CDATA[Chris Evans]]></category>
		<category><![CDATA[Michael Shannon]]></category>
		<category><![CDATA[Ray Liotta]]></category>
		<category><![CDATA[Richard Kuklinski]]></category>
		<category><![CDATA[The Iceman]]></category>
		<category><![CDATA[Winona Ryder]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3538496</guid>
		<description><![CDATA[A knock on the door interrupts Marty (James Franco), a minor entrepreneur of teen porn, in the middle of a photo session. His visitor, Richard Kuklinski (Michael Shannon), has come to kill him. When he sees Marty clasping his hands, Kuklinski instructs him to pray to God to save him. Silence from above. “I think God’s busy,&#8221; Kuklinski whispers. Blam! Cowering in the closet is the 17-year-old girl Marty was photographing. Kuklinski lets her go. “I don’t kill women and children,” he explains later. Even in the ninth circle of the New Jersey underworld, a man can have ethics. Question is, given the volatility of his gangland employer, can he afford them? (SEE: TIME&#8217;s Top 10 Pop-Culture Gangsters) The Iceman, from the Israeli-born director Ariel Vromen, is a B movie and proud of it. Based on Kuklinski’s more-or-less true story — after his 1986 arrest he claimed to have committed more than 100 murders, maybe as many as 250, and starred in three made-for-TV documentaries — this Mafia tale doesn’t aspire to the heights of a Godfather or the epic sprawl of The Sopranos. Vromen and cowriter Morgan Land are content to bring subtle shadings to the tale of a strange man in a dirty business. The Iceman presents but does not explain Kuklinski, leaving Shannon to dominate the character by his quiet, creepy presence. The craziest thing about Kuklinski is his devotion to his wife Deborah (Winona Ryder). When they meet, in 1964, he told her she was “a prettier version of Natalie Wood.” He may believe it. Over the next two decades he will do anything for Deborah and their two daughters, who (the movie says) know nothing of his real business. He says his job is “currency valuation,” which is true insofar as he values the currency he gets from killings to support his family. He’s also not lying when he tells Deborah, “You and the girls, that’s all I care about in the whole f—in’ world.” In a professional assassin, a soft heart is a soft spot, a weakness his enemies can exploit. (SEE: How<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3538496&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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			<media:title type="html">The Iceman</media:title>
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			<media:title type="html">Richard Corliss</media:title>
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		<title>Iron Man Three: Tony Stark Saves the World, Gets a Heart</title>
		<link>http://entertainment.time.com/2013/04/30/iron-man-three-tony-stark-saves-the-world-gets-a-heart/</link>
		<comments>http://entertainment.time.com/2013/04/30/iron-man-three-tony-stark-saves-the-world-gets-a-heart/#comments</comments>
		<pubDate>Tue, 30 Apr 2013 18:35:40 +0000</pubDate>
		<dc:creator>Richard Corliss</dc:creator>
				<category><![CDATA[Movies]]></category>
		<category><![CDATA[Review]]></category>
		<category><![CDATA[Uncategorized]]></category>
		<category><![CDATA[Don Cheadle]]></category>
		<category><![CDATA[Guy Pearce]]></category>
		<category><![CDATA[Gwyneth Paltrow]]></category>
		<category><![CDATA[Iron Man 3]]></category>
		<category><![CDATA[Iron Man Three]]></category>
		<category><![CDATA[Jon Favreau]]></category>
		<category><![CDATA[Marvel comics]]></category>
		<category><![CDATA[Marvel Studios]]></category>
		<category><![CDATA[Rebecca Hall]]></category>
		<category><![CDATA[Robert Downey Jr.]]></category>
		<category><![CDATA[Shane Black]]></category>
		<category><![CDATA[Tony Stark]]></category>
		<category><![CDATA[Ty Simpkins]]></category>

		<guid isPermaLink="false">http://entertainment.time.com/?p=3538650</guid>
		<description><![CDATA[Many people have dreams where they fly through the air and suddenly, disastrously lose altitude. But for Tony Stark, whose invention of an airborne Iron Man suit made him a superhero, the image of a flying man falling signals something worse than an anxiety attack. It is a harbinger of career suicide. Not just Tony, the Mensa zillionaire played with such admirable arrogance by Robert Downey Jr., but the entire Iron Man franchise seemed on life support when Jon Favreau&#8217;s Iron Man 2 arrived in 2010. That pallid sequel existed only because the 2008 original was a worldwide smash — the economic imperative of many an action sequel. The first movie, also directed by Favreau, had a lot going for it, especially its making a hero of that peculiarly American species of capitalist genius who builds stuff, makes it move fast and earns a huge profit. That&#8217;s exactly what the Marvel guys, who expanded the characters from their comics into some sensational movie escapism, did for Hollywood. (READ: Corliss&#8217;s reviews of Iron Man and Iron Man 2) Last spring, Joss Whedon&#8217;s The Avengers partially restored Stark&#8217;s verve and luster, as well as selling $1.5 billion worth of tickets worldwide. Now director and co-writer Shane Black, whose name sounds as if it belonged to one of Tony&#8217;s suaver adversaries, really gets the franchise soaring with Iron Man Three (known in its advertising as Iron Man 3) and launches the summer blockbuster season with a movie of nifty thrills and ruthless sauciness. [  ***  Warning: Entering Spoiler Zone  ***  ] &#8220;Some call me a terrorist,&#8221; says the robed, bearded figure known as the Mandarin. &#8220;I say I&#8217;m a teacher.&#8221; This revived bin Laden commandeers American TV sets, and perhaps all social media, with threats dire but unspecified. They begin with a massacre in the forecourt of Hollywood&#8217;s Chinese Theater and escalate to a kidnapping of the U.S. President on Air Force One (which makes IM3 the third of four 2013 movies — after Olympus Has Fallen and G.I. Joe Retaliation and before this summer&#8217;s White<img alt="" border="0" src="http://stats.wordpress.com/b.gif?host=entertainment.time.com&#038;blog=24659518&#038;post=3538650&#038;subd=timeentertainment&#038;ref=&#038;feed=1" width="1" height="1" />]]></description>
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	<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/ca-05482_r_cmyk.jpg?w=240</featured_image>
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			<media:title type="html">RC review - CA-05482_R.jpg_cmyk</media:title>
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			<media:title type="html">Richard Corliss</media:title>
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