Subject: Erna, do you think this is something for Abe

From: "Dianne P." <[email-masked]>
Date: Sat, 29 Sep 2007 10:36:52 -0300

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Most of the decisions involving this sequel to the spirited original "Barbershop" — a movie that itself cobbled together pieces of other projects — are about carefully retracing the steps of that 2002 hit in order to keep those $100 Benjamins flowing. Shot on Super 16-millimeter film, with many scenes steeped in a blue that would have made Yves Klein envious, “Zoo” is, to a large extent, about the rhetorical uses of beauty and metaphor and of certain filmmaking techniques like slow-motion photography. Much has been made of the film’s look, and it’s easy to see why. The thief's girlfriend Sherry (Nia Long), who is also the mother of his child, lives in a small Southern town, and Malcolm plans to set up a stake-out in the house across the street from Sherry's. Venture capitalist: that’s the misleading job description preferred by the title character of the slight and silly “Wendell Baker Story.” Wendell (Luke Wilson), a cheerful Texan slacker, runs a profitable operation on the Tex-Mex border selling fake driver’s licenses to illegal migrant workers. 

Wendell, who works with a partner, Reyes (Jacob Vargas), out of an Airstream trailer he calls the Ellis Island of the Southwest, means no harm. That DreamWorks ogre’s skin is the color of money after all. After exploring the predominance of violence in American culture in Bowling for Columbine and taking a critical look at the September 11th attacks in Fahrenheit 9/11, activist filmmaker Michael Moore turns his attentions towards the topic of health care in the United States in this documentary that weighs the plight of the uninsured against the record profits of the pharmaceutical industry. Raimi as it has Peter Parker, but it seems as if it has zapped his gracious good humor, which was so critical to the first two films. 

The story this time unfolds as a series of increasingly dreary and teary melodramatic encounters regularly interrupted by special-effects-laden fights. " — and meaning it — should produce a lot more laughs than this intermittently amusing sequel. Shot on Super 16-millimeter film, with many scenes steeped in a blue that would have made Yves Klein envious, “Zoo” is, to a large extent, about the rhetorical uses of beauty and metaphor and of certain filmmaking techniques like slow-motion photography. kommazone nocalsch-archive888lists.ietf.orgmo The thief's girlfriend Sherry (Nia Long), who is also the mother of his child, lives in a small Southern town, and Malcolm plans to set up a stake-out in the house across the street from Sherry's. Big Momma's House gained considerable pre-production publicity when Lawrence fell into a coma while jogging in a heat wave before the film's start date; Lawrence claimed that he was trying to lose weight to fit more comfortably into his character's "fat suit." 

Written by Luke Wilson, who directed with his older brother Andrew, it also stars a third brother, Owen, as Wendell’s nemesis. The attractive stranger at the airport bar hears one version, the parole officer another, and the P.T.A. Yet in the past decade or so a handful of psychologists have argued that the quicksilver elements of personal narrative belong in any three-dimensional picture of personality. By better understanding how life stories are built, this work suggests, people may be able to alter their own narrative, in small ways and perhaps large ones. “When we first started studying life stories, people thought it was just idle curiosity — stories, isn’t that cool? In the first movie Shrek (voiced by Mike Myers) met and wooed his lady love, Fiona (Cameron Diaz); in the second he got to know the in-laws. Which is only to say that “Shrek the Third,” directed by Chris Miller and Raman Hui from a script with a half-dozen credited begetters, already feels less like a children’s movie than either of its predecessors. If ever a movie had a case of the blues and the blahs, it’s “Spider-Man 3,” the third and what feels like the end of Sam Raimi’s big-screen comic-book adaptations. Most of the decisions involving this sequel to the spirited original "Barbershop" — a movie that itself cobbled together pieces of other projects — are about carefully retracing the steps of that 2002 hit in order to keep those $100 Benjamins flowing.

Ice Cube returns as star and executive producer of "Barbershop 2." His Calvin Palmer provides the common sense that holds the shop together, a glue it desperately needs. The cinematographer, Sean Kirby, has done some striking work here. In this comedy, a cop assumes a new identity in his valiant battle against crime: an elderly grandmother.

The thief's girlfriend Sherry (Nia Long), who is also the mother of his child, lives in a small Southern town, and Malcolm plans to set up a stake-out in the house across the street from Sherry's. Determined to maintain his cover, Malcolm disguises himself as Big Momma, and now has to convince Sherry (and everyone else in the neighborhood) that Big Momma's still in town. Written by Luke Wilson, who directed with his older brother Andrew, it also stars a third brother, Owen, as Wendell’s nemesis. board gets something entirely different. And a burst of new findings are now helping them make the case. People tend to remember facts more accurately if they encounter them in a story rather than in a list, studies find; and they rate legal arguments as more convincing when built into narrative tales rather than on legal precedent. “Younger kids see themselves in terms of broad, stable traits: ‘I like baseball but not soccer,’ ” said Kate McLean, a psychologist at the University of Toronto in Mississauga. They also describe several crucial scenes in detail, including high points (the graduation speech, complete with verbal drum roll); low points (the college nervous breakdown, complete with the list of witnesses); and turning points. By contrast, so-called generative adults — those who score highly on tests measuring civic-mindedness, and who are likely to be energetic and involved — tend to see many of the events in their life in the reverse order, as linked by themes of redemption.

Often, too, they say they felt singled out from very early in life — protected, even as others nearby suffered. Any life story is by definition a retrospective reconstruction, at least in part an outgrowth of native temperament. At some level, talk therapy has always been an exercise in replaying and reinterpreting each person’s unique life story.

Yet Mr.Adler found that in fact those former patients who scored highest on measures of well-being — who had recovered, by standard measures — told very similar tales about their experiences. In the first movie Shrek (voiced by Mike Myers) met and wooed his lady love, Fiona (Cameron Diaz); in the second he got to know the in-laws. The current installment finds him faced with impending fatherhood and something of a career crisis. Instead they go to a Koranic school, where they learn the Koran by rote. Which is only to say that “Shrek the Third,” directed by Chris Miller and Raman Hui from a script with a half-dozen credited begetters, already feels less like a children’s movie than either of its predecessors. But then again, so did my kids.) As it happens, the over-all shape does recall a Busby Berkeley musical — snappy story, lavish number, snappy story, lavish number — but without the snap or fun. This film seems to be "All About the Benjamins," to use the title of an Ice Cube action comedy. Most of the decisions involving this sequel to the spirited original "Barbershop" — a movie that itself cobbled together pieces of other projects — are about carefully retracing the steps of that 2002 hit in order to keep those $100 Benjamins flowing.

Idriss Abdoulaye sells water from a pushcart for 20 naira a jerry can, about 15 cents, to people like himself, too poor to have wells. He said he worries they will end up as poor, illiterate traders like him. Which is only to say that “Shrek the Third,” directed by Chris Miller and Raman Hui from a script with a half-dozen credited begetters, already feels less like a children’s movie than either of its predecessors.

Success may not have spoiled Mr. Ice Cube returns as star and executive producer of "Barbershop 2." His Calvin Palmer provides the common sense that holds the shop together, a glue it desperately needs.

The prowling camera and dusky colors give much of “Zoo,” which opens with the portentous image of what appear to be miners emerging from a tunnel, a sumptuous, almost velvety look and vibe, an effect enhanced by the repeated use of slow-motion photography.  Malcolm Turner (Martin Lawrence) is an FBI agent who is a master of disguise and will stop at nothing to get his man. Determined to maintain his cover, Malcolm disguises himself as Big Momma, and now has to convince Sherry (and everyone else in the neighborhood) that Big Momma's still in town. She, however, is running out of patience with his protracted adolescence. For more than a century, researchers have been trying to work out the raw ingredients that account for personality, the sweetness and neuroses that make Anna Anna, the sluggishness and sensitivity that make Andrew Andrew. And a burst of new findings are now helping them make the case. People tend to remember facts more accurately if they encounter them in a story rather than in a list, studies find; and they rate legal arguments as more convincing when built into narrative tales rather than on legal precedent.

They also describe several crucial scenes in detail, including high points (the graduation speech, complete with verbal drum roll); low points (the college nervous breakdown, complete with the list of witnesses); and turning points. By contrast, so-called generative adults — those who score highly on tests measuring civic-mindedness, and who are likely to be energetic and involved — tend to see many of the events in their life in the reverse order, as linked by themes of redemption. In broad outline, the researchers report, such tales express distinctly American cultural narratives, of emancipation or atonement, of Horatio Alger advancement, of epiphany and second chances.

Adler reported on 180 adults from the Chicago area who had recently completed a course of talk therapy. Yet Mr.Adler found that in fact those former patients who scored highest on measures of well-being — who had recovered, by standard measures — told very similar tales about their experiences.