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            <title>The Parallax Review - Articles by Mark Dujsik</title>
            <link>http://www.theparallaxreview.com/</link>
            <description></description>
            <language>en</language>
            <copyright>Copyright 2012</copyright>
            <lastBuildDate>Fri, 25 Feb 2011 00:00:00 -0600</lastBuildDate>
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                <title>Regarding Henry</title>
                <description><![CDATA[<i>Regarding Henry</i>&rsquo;s sincerity is at once the movie&rsquo;s crutch and its downfall.  It is the story of a man of loose moral sensibilities who awakens to the recognition of treating his fellow human beings with decency, and all that has to happen to him to come to this realization is that he&rsquo;s shot in the head.]]></description>

                <link>http://www.theparallaxreview.com/on_cable/regarding_henry.html</link>
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                    <category domain="http://www.sixapart.com/ns/types#category">On Cable</category>
        
        
                <pubDate>Fri, 25 Feb 2011 00:00:00 -0600</pubDate>
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                <title>Flirting with Disaster</title>
                <description><![CDATA[David O. Russell&rsquo;s <i>Flirting with Disaster</i> finds the farcical in the emotionally fragile events surrounding a man&rsquo;s search for his biological parents.  At a crossroads in his life &mdash; new son (for whom he can&rsquo;t decide upon a name), a fading sex life with his wife, and the culmination of a lifelong identity crisis arising from his adoption as a baby &mdash; Mel Coplin (Ben Stiller) or his need to feel a part of something he&rsquo;s felt he has been missing is never the butt of any of the film&rsquo;s jokes.]]></description>

                <link>http://www.theparallaxreview.com/on_cable/flirting_with_disaster.html</link>
                <guid>http://www.theparallaxreview.com/on_cable/flirting_with_disaster.html</guid>

        
                    <category domain="http://www.sixapart.com/ns/types#category">On Cable</category>
        
        
                <pubDate>Fri, 18 Feb 2011 00:00:04 -0600</pubDate>
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                <title>Gnomeo &amp; Juliet</title>
                <description><![CDATA[It&rsquo;s not really <i>Romeo and Juliet</i> when the characters can come back to life with a lot of time and a little glue, and by the tone, this loosely adapted version starring lawn ornaments really, really understands that basic fact.  If only <i>Gnomeo & Juliet</i> were as imaginative in poking the ribs of its central storyline as it is about developing the silly cuteness of its background characters, the movie might have been on to something.]]></description>

                <link>http://www.theparallaxreview.com/in_theatres/gnomeo_and_juliet.html</link>
                <guid>http://www.theparallaxreview.com/in_theatres/gnomeo_and_juliet.html</guid>

        
                    <category domain="http://www.sixapart.com/ns/types#category">In Theatres</category>
        
        
                <pubDate>Fri, 11 Feb 2011 00:00:01 -0600</pubDate>
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                <title>Gattaca</title>
                <description><![CDATA[Andrew Niccol&rsquo;s <i>Gattaca</i> seems a bit quainter than it did upon the film&rsquo;s release fourteen years ago.  What was a revolutionary premise about chiseling away the fa&ccedil;ade of a false utopia based upon the structured discrimination of people deemed genetically inferior (the passage of the Genetic Information Nondiscrimination Act of 2008 appears almost a direct, if belated, response to the film&rsquo;s scenario) is now simply the basis for an intelligent display of plotting an intricate con.]]></description>

                <link>http://www.theparallaxreview.com/on_cable/gattaca.html</link>
                <guid>http://www.theparallaxreview.com/on_cable/gattaca.html</guid>

        
                    <category domain="http://www.sixapart.com/ns/types#category">On Cable</category>
        
        
                <pubDate>Fri, 11 Feb 2011 00:00:01 -0600</pubDate>
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                <title>Just Go with It</title>
                <description><![CDATA[There&rsquo;s a difference between a movie that features dumb characters and a dumb movie, and you can see that distinction firsthand in <i>Just Go With It</i>, which begins the former and, about halfway through, becomes the latter.  Both halves are maddening in different ways: the first in how unlikely and illogical character decisions are, and the second in how monotonous the lack of jokes and predictable romantic comedy formula are.]]></description>

                <link>http://www.theparallaxreview.com/in_theatres/just_go_with_it.html</link>
                <guid>http://www.theparallaxreview.com/in_theatres/just_go_with_it.html</guid>

        
                    <category domain="http://www.sixapart.com/ns/types#category">In Theatres</category>
        
        
                <pubDate>Fri, 11 Feb 2011 00:00:00 -0600</pubDate>
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                <title>40 Days and 40 Nights</title>
                <description><![CDATA[Matt&rsquo;s (Josh Hartnett) idea is to take sex off the table in observation of Lent (but mainly to get over an ex-girlfriend) and &mdash; surprise &mdash; ends up spending the entire forty days discussing why he isn&rsquo;t having sex, what else he can do besides having sex, and, generally, sex (in the same way he says he&rsquo;s over the girl but keeps bringing up how he&rsquo;s so over her).  Screenwriter Rob Perez tries to excuse it as the elephant in the room a person can&rsquo;t stop thinking about because they&rsquo;re purposefully trying to avoid it, but <i>40 Days and 40 Nights</i> is all the more tedious for its one-track mind.]]></description>

                <link>http://www.theparallaxreview.com/on_cable/40_days_and_40_nights.html</link>
                <guid>http://www.theparallaxreview.com/on_cable/40_days_and_40_nights.html</guid>

        
                    <category domain="http://www.sixapart.com/ns/types#category">On Cable</category>
        
        
                <pubDate>Fri, 04 Feb 2011 00:00:00 -0600</pubDate>
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                <title>The Mechanic</title>
                <description><![CDATA[It&rsquo;s not that the rest of this loose remake of Michael Winner&rsquo;s 1972 movie of the same title is forgettable, but it is fair to say many of the movie&rsquo;s action sequences are primarily ordinary affairs heightened by a macabre sense of glee at the bloody finesse of its anti-heroes.]]></description>

                <link>http://www.theparallaxreview.com/in_theatres/the_mechanic.html</link>
                <guid>http://www.theparallaxreview.com/in_theatres/the_mechanic.html</guid>

        
                    <category domain="http://www.sixapart.com/ns/types#category">In Theatres</category>
        
        
                <pubDate>Fri, 28 Jan 2011 00:00:00 -0600</pubDate>
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                <title>CQ</title>
                <description><![CDATA[It&rsquo;s almost impossible to discuss writer/director Roman Coppola&rsquo;s first and &mdash; at this point &mdash; only feature without bringing up at least three other films.  <i>CQ</i> wears its influences and homage on its sleeve.]]></description>

                <link>http://www.theparallaxreview.com/on_cable/cq.html</link>
                <guid>http://www.theparallaxreview.com/on_cable/cq.html</guid>

        
                    <category domain="http://www.sixapart.com/ns/types#category">On Cable</category>
        
        
                <pubDate>Fri, 28 Jan 2011 00:00:00 -0600</pubDate>
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                <title>8 Heads in a Duffel Bag</title>
                <description><![CDATA[The middle and late 1990s saw a decent number of dark comedies &mdash; or, at least, an increase in critics using the terms &ldquo;dark comedy&rdquo; or &ldquo;black comedy&rdquo; whenever a movie tackled a serious subject with any bit of bite.  Then there&rsquo;s something like <i>8 Heads in a Duffel Bag</i>, which revolves around &mdash; you guessed it &mdash; a duffel bag full of eight decapitated heads and figures that alone is enough.]]></description>

                <link>http://www.theparallaxreview.com/on_cable/8_heads_in_a_duffel_bag.html</link>
                <guid>http://www.theparallaxreview.com/on_cable/8_heads_in_a_duffel_bag.html</guid>

        
                    <category domain="http://www.sixapart.com/ns/types#category">On Cable</category>
        
        
                <pubDate>Fri, 21 Jan 2011 00:00:00 -0600</pubDate>
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                <title>Barney&apos;s Version</title>
                <description><![CDATA[The movie is so intent on wallowing along in Barney&rsquo;s misery that it bypasses the only chapter of his life in which he might have been content, if not happy, with a photographic montage &mdash; watching as his kids grow up and ending with a smiling family portrait.  Ultimately, even those kids can&rsquo;t muster any positive feeling for the old man &mdash; one hates him, the other can only pity his lonely state.  It is a story full of drunken encounters and long drags on countless cigars, told by a bitter man, signifying despair.]]></description>

                <link>http://www.theparallaxreview.com/in_theatres/barneys_version.html</link>
                <guid>http://www.theparallaxreview.com/in_theatres/barneys_version.html</guid>

        
                    <category domain="http://www.sixapart.com/ns/types#category">In Theatres</category>
        
        
                <pubDate>Fri, 21 Jan 2011 00:00:00 -0600</pubDate>
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                <title>Man of the Century</title>
                <description><![CDATA[The joke &mdash; and it&rsquo;s the movie&rsquo;s only joke &mdash; is that Johnny Twennies (Gibson Frazier) is stuck in the movie vision of the 1920s (see, even his name is part of that gag), while the rest of the world has progressed into (or remained, if you&rsquo;re a realist) a loud, hurtful, dangerous, foul-mouthed place where people don&rsquo;t give a good gosh-darn about the opening of some public library, guys get fresh with a lady riding her bike to work, and dolls are looking for more than a kiss on the cheek after 27 days of courting.  He doesn&rsquo;t realize any of his modes of thought, dress, and speech are outdated, and that makes it an effective joke &mdash; to a point.]]></description>

                <link>http://www.theparallaxreview.com/on_cable/man_of_the_century.html</link>
                <guid>http://www.theparallaxreview.com/on_cable/man_of_the_century.html</guid>

        
                    <category domain="http://www.sixapart.com/ns/types#category">On Cable</category>
        
        
                <pubDate>Fri, 14 Jan 2011 00:00:01 -0600</pubDate>
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                <title>The Green Hornet</title>
                <description><![CDATA[<i>The Green Hornet</i> doesn&rsquo;t do much to improve the hero&rsquo;s stature, turning him into a spoiled, buffoonish publishing tycoon who knows as little about journalism as he does about crime-fighting and feigning to be criminal, and demotes the sidekick&rsquo;s far more effective tactics, making them secondary to slow-motion, effects-laden brawls with a video game aesthetic.]]></description>

                <link>http://www.theparallaxreview.com/in_theatres/the_green_hornet.html</link>
                <guid>http://www.theparallaxreview.com/in_theatres/the_green_hornet.html</guid>

        
                    <category domain="http://www.sixapart.com/ns/types#category">In Theatres</category>
        
        
                <pubDate>Fri, 14 Jan 2011 00:00:01 -0600</pubDate>
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                <title>The Dilemma</title>
                <description><![CDATA[To tell or not to tell is the question for about five minutes of <i>The Dilemma</i>, and the rest of the time is spent with a character waiting for the opportune time to tell his best friend that the guy&rsquo;s wife has been cheating (that he finds the least opportune and appropriate time to do is not mandatory for comedy or drama but certainly a cheap way to try to force both).  That situation in a feature-length comedy, of course, means that there must be transparently contrived obstacles on top of transparently contrived obstacles.]]></description>

                <link>http://www.theparallaxreview.com/in_theatres/the_dilemma.html</link>
                <guid>http://www.theparallaxreview.com/in_theatres/the_dilemma.html</guid>

        
                    <category domain="http://www.sixapart.com/ns/types#category">In Theatres</category>
        
        
                <pubDate>Fri, 14 Jan 2011 00:00:00 -0600</pubDate>
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                <title>Home Alone</title>
                <description><![CDATA[Parts of <i>Home Alone</i> are so ingrained in my memory that I noticed my brain filling in lines of dialogue before they were spoken on screen.  Take into consideration that I didn&rsquo;t watch this movie repeatedly as a child, either, and honestly, I don&rsquo;t recall the last time I saw it.  It&rsquo;s simply that the script by John Hughes is either memorable or predictable, and I&rsquo;d rather not make such a sweeping judgment one way or the other.]]></description>

                <link>http://www.theparallaxreview.com/on_cable/home_alone.html</link>
                <guid>http://www.theparallaxreview.com/on_cable/home_alone.html</guid>

        
                    <category domain="http://www.sixapart.com/ns/types#category">On Cable</category>
        
        
                <pubDate>Fri, 17 Dec 2010 00:00:01 -0600</pubDate>
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                <title>The Tempest</title>
                <description><![CDATA[<i>The Tempest</i>, though late in his life and career, is not one of Shakespeare&rsquo;s problem plays, but writer/director Julie Taymor does much to turn it into one.  Indeed, at the end of her visually and thematically rambling (the former being far more worth the trouble than the latter) adaptation, we are left simply wondering as to the point.]]></description>

                <link>http://www.theparallaxreview.com/in_theatres/the_tempest.html</link>
                <guid>http://www.theparallaxreview.com/in_theatres/the_tempest.html</guid>

        
                    <category domain="http://www.sixapart.com/ns/types#category">In Theatres</category>
        
        
                <pubDate>Fri, 17 Dec 2010 00:00:01 -0600</pubDate>
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