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Closed Circuit (R for profanity and brief violence) Legal thriller about a couple of ex-lover lawyers (Eric Bana and Rebecca Hall) whose lives are threatened when they decide to defend the prime suspect (Dennis Moschitto) in the terrorist bombing of a bustling London market. Getaway (PG-13 for profanity, rude gestures, mayhem and pervasive violence) High-octane action thriller revolving around a retired race car driver (Ethan Hawke) who hijacks a custom-built Mustang and joins forces with a cute computer whiz (Selena Gomez) to rescue his wife (Rebecca Budig) from the clutches of a mysterious kidnapper (Jon Voigt). One Direction: This Is Us (PG for mild epithets) Oscar-nominee Morgan Spurlock (for Super Size Me) directs this concert flick featuring backstage footage and chronicling the British boy band’s meteoric rise to superstardom.
American Made Movie (G) Nostalgic factory documentary revisits the glory days of the United States’ manufacturing industry when exports still exceeded imports. I Declare War (Unrated) Coming-of-age dramedy about a group of 12 year-old neighborhood kids whose fantasy game of Capture the Flag turns realistic when jealousy rears its ugly head. King: A Filmed Record… Montgomery to Memphis (Unrated) Re-release of the Oscar-nominated, 1970 documentary chronicling the life and career of Dr. The Lifeguard (R for drug use, profanity, disturbing images, graphic nudity and explicit sexuality) Kristen Bell stars in the title role of this jailbait drama as a jaded, NYC TV reporter who quits her to move back home to suburban Connecticut to work as a lifeguard only to end up having an affair with a troubled, 16 year-old (David Lambert). Our Nixon (Unrated) Tricky Dick documentary, first aired on CNN, revisiting the events surrounding the Watergate break-in which brought down the Nixon administration. Passion (R for profanity, sexuality and violence) Brian de Palma directs this English language remake of Crime d’amour, the French thriller about the escalating, cutthroat competition between a corporate executive (Rachel McAdams) and her ambitious protege (Noomi Rapace). Sales of existing homes plummeted 10.5 percent in November, the largest such decline since July 2010, according to the National Association of Realtors. When you need rapid sight picture acquisition in a high-stress, low-light home defense environment, TRUGLO delivers. Americans are enjoying inexpensive gasoline these days, and it doesn’t look like the party is ready to slow down. That’s the news from the Energy Information Administration, which points to several factors that are keeping fuel prices low for consumers. Military history buffs who come to Charleston will never leave this South Carolina city disappointed.
When we talk about that furry friend of yours, it seems odd to even say that there is “one” day dedicated just to them. Patrice Leconte's "Monsieur Hire" is a tragedy about loneliness and erotomania, told about two solitary people who have nothing else in common.
FFC Gerardo Valero discusses the devolution of Quentin Tarantino by comparing The Hateful Eight to Pulp Fiction.

An extraordinary documentary about race, family and education that's at once epic and intimate, "American Promise" took 14 years to complete since its premise is to follow two boys from kindergarten through high school. When we meet them at age five, in the late '90s, Idriss and Seun are as fortunate as they are cute.
A piece on extending the conversation about diversity at the Oscars to include all minorities. Quintet includes Niall Horan, Zayn Malik, Liam Payne, Harry Styles and and Louis Tomlinson. Ensemble cast includes Siam Yu, Gage Munroe, Michael Friend, Aidan Gouveia and Mackenzie Munro. Featuring recently-unearthed, Super 8 film footage of White House insiders John Ehrlichman, Dwight Chapin and H.R. It’s where you’ll find plenty of naval ships that tell the story of America’s freedom in the 20th century.
Helm Master brings the advantages of digital technology to every facet of operation, from easy maneuvering in the marina to cruising with command on the water.
Actually, co-directors (and spouses) Joe Brewster and Michele Stephenson initially set out to film the scholastic careers of several children, including girls, but when all the subjects dropped out except for their own son, Idriss, and his best friend, Seun Summers, they were left with a film about two African-American boys entering a privileged, predominantly white academic environment – a focus that is essential to the film's provocative fascinations and cultural importance.
The eldest sons of stable and motivated black professional couples in Brooklyn, the boys are selected to attend Manhattan's tony, private Dalton School, an opportunity that evidently stems both from the school's new commitment to "diversity" (which involves trying to mirror the city's racial makeup) and their parents' desire to give their sons the best educations possible. You will receive a weekly newsletter full of movie-related tidbits, articles, trailers, even the occasional streamable movie. They have worked so hard; they have dreams they have fought for, and the Olympic stage is THE elite stage they have longed to get to. Although "American Promise" wasn't the project's initial title, it perfectly captures the feeling of hope that both families evince as the boys embark on their big educational adventure. Both the lithe, delicate-featured Idriss and shy, husky Seun, in addition to being very likable kids, are smart and articulate, and their teachers and counselors seem to go out of their way to help them. Yet from early on, they seem unable to match or surpass their classroom peers, mostly kids from well-to-do white families. Idriss, who slips into hip-hop patois when he goes out to play basketball with boys from the projects lest he be accused of "talking white," also perceives that he's punished at school more readily than the white kids. By middle school and the onset of adolescence, the challenges have multiplied and the parents' frustrations mounted accordingly.

While Idriss and Seun seem to feel that their folks are pressuring them too relentlessly about schoolwork, the Brewsters and the Summerses say that they don't think they are being tough enough. After arriving late for a martial arts ceremony and being told by his dad that he's screwed up due to being given too much freedom, Seun turns to the camera and smirks, "They think waking up by yourself is freedom." Falling further behind academically toward the end of middle school, he leaves Dalton and moves over to Benjamin Banneker Academy, a distinguished Brooklyn public school with a mostly black student body. The central perplexities here are summed up by a Dalton administrator who says that at their school "African-American girls do okay.
But there seems to be a cultural disconnect between independent schools and African-American boys, and we see a high rate of the boys not being successful. What are we doing as a school that is not supporting these guys?" Another angle on that question, meanwhile, comes from a teacher at Benjamin Banneker, who suggests that diversity itself may be a misguided goal, pointing to his school's success rate as an indication that black students often do better academically among their fellows than in situations where they feel isolated and constantly compared to more privileged classmates.
While they didn't set out to make a film about what newspaper columnists refer to as the "black male achievement gap," Brewster and Stephenson have done just that, and it's hard to imagine a more penetrating and powerful one.
Since it's filmed in direct-cinema style (Michael Apted's "Up" series was an inspiration) there are no interviews with experts mulling the reasons for this gap. Rather than pretending to offer any encompassing explanations or solutions for what is obviously a very complex and multi-faceted problem, the filmmakers explore it in the intimate context of two families. Seeing it that up-close and personal provides a vivid and immediate basis for discussion, and indeed, it's easy to believe that "American Promise" will be the basis for many discussions in U.S.
Yet as illuminating as the film is regarding one crucial issue, it is also much more than that. Watching Idriss and Seun from the time they enter school till they set off for college (a happy-enough ending for their arduous academic journeys) is a rich and rewarding experience, one that will surely make most viewers reflect on their own lives and family situations. Hit by unexpected tragedy in the latter stages of filming, the Summerses dropped out of the project for a while, but later returned, perhaps sensing that telling Seun's story in this way might well benefit others. A film of this scope is obviously a monumental undertaking, yet it's one that Brewster and Stephenson managed to complete while negotiating several technological changes that led documentary filmmakers from shooting on tape to digital. For all that, "American Promise" is beautifully shot (by several camera operators) and assembled.
Credited editors Erin Casper, Mary Manhardt and Andrew Siwoff obviously deserve kudos for a film that is eloquently structured and consistently engaging.

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