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We Bought a Zoo is just too lighthearted and silly for the own good, gaily adapted from a memoir concerning the true to life Benjamin Mee with his fantastic purchase and renovation of the dilapidated zoo. Death, grief and recovery make their way into the screenplay, in sadly small doses. Due to Cameron Crowe’s name being behind the writing and directing, there were some initial Oscar buzz, however the only time the film is even slightly awards-worthy palatable is when characters argue. The script isn’t demanding enough for your actors and many in the roles seem miscast. Damon is watchable (the rest from the cast is just not, save for Thomas Haden Church), but depth, poignancy, and serious drama elude every part. Even the momentary romances appear forced and inauthentic. The worst offense, however, is the hopelessly contrived conclusion, which screams of fairy-tale goofiness. How fantastical does a film about the renovation of an rundown zoo have to be? The movie starts with Lisbeth Salander being transported on the hospital after being shot by her father. Her father is often a Soviet turned Swedish spy who Lisbeth nearly killed as a kid. Lisbeth hangs between life and death as the Swedish justice system seems determined to prosecute her for attacking her father. Lisbeth’s friend and sidekick Mikael Blomkvist fights justice to be with her on the exterior, and he is constantly have confidence in her even if she pushes her away. Lisbeth’s past comes to light, and her shocking treatment as a result of the Swedish authorities as a child is finally exposed. Blomkvist and the staff always uncover government corruption going back 3 decades. The finale mixes every one of these separate strands for a public airing which feels richly deserved.

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Although it’s primarily a comedy, The Dilemma delves to the dark infidelities of faulty relationships, which uncovers some serious predicaments. The cheeriest of comic relief interludes can’t overcome the solemnity of disloyalty and its destructive nature. But comedians Kevin James and Vince Vaughn certainly try, bringing their trademark playful, flirtatious, speedy, back-and-forth dialogue on the table. Allan Loeb writes the film, but Vaughn producing, it’s likely the scripting was heavily influenced. The sickly-sweet “getting to find out the characters” intro could be the only segment it doesn’t scream of Vaughn’s verbal work, with all the moral impasse and it is resolution coming across as director Ron Howard’s material. It’s a return to comedy after having a decade of dramatic projects for that filmmaker, however, not lacking tragicomic substance.

Or have you thought to incorporate some politics in a feature film? Heck, he might make a movie about his political exploits and play himself. He has exactly the personality to make a movie prefer that work. Many people beyond California have no idea the important points of how he got into office or what he’s done since he’s had the experience and yes it would have been a good way to welcome him to the large screen. Plus, playing himself shouldn’t prove too big of the challenge for Mr. Schwarzenegger.

Don’t get me wrong, Megamind provides some decent entertainment (albeit mindless) and is a moderately amusing movie. However, what is apparently Dreamworks’ response to Pixar’s The Incredibles fails to deliver for the reason that effort with Pixar again showing it’s superiority. And Dreamworks again showing why these are, in fact, an undeniable # 2.

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