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	<title>Past the Popcorn</title>
	<link>http://ptpopcorn.com</link>
	<description>Films, and the Artists Who Make Them</description>
	<pubDate>Thu, 11 Mar 2010 14:27:23 +0000</pubDate>
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		<title>Planet 51</title>
		<link>http://ptpopcorn.com/index.php/2010/planet-51/</link>
		<comments>http://ptpopcorn.com/index.php/2010/planet-51/#comments</comments>
		<pubDate>Thu, 11 Mar 2010 14:27:23 +0000</pubDate>
		<dc:creator>Greg Wright</dc:creator>
		
		<category><![CDATA[Reviews]]></category>

		<category><![CDATA[New on DVD]]></category>

		<category><![CDATA[DVD Feature]]></category>

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		<description><![CDATA[In case you fail to notice during the closing credits of the film, it’s worth noting that this English-language film is the work of Madrid’s ILION Animation Studios—which may well account for the freshness of their work.  The film is the inaugural production of the studio, which was a spinoff of Pyro, a computer games manufacturer.  This is all the more remarkable as the film in no way feels inspired by (or aimed at leveraging) the games market.  Too bad we can’t say the same for many of our mega-budget Hollywood films. I really look forward to more from ILION. I know: it’s European.  But really... that’s okay!  Most of us used to be, too. ]]></description>
		<wfw:commentRss>http://ptpopcorn.com/index.php/2010/planet-51/feed/</wfw:commentRss>
		</item>
		<item>
		<title>Capitalism Revisited</title>
		<link>http://ptpopcorn.com/index.php/2010/capitalism-revisited/</link>
		<comments>http://ptpopcorn.com/index.php/2010/capitalism-revisited/#comments</comments>
		<pubDate>Wed, 10 Mar 2010 17:33:26 +0000</pubDate>
		<dc:creator>Greg Wright</dc:creator>
		
		<category><![CDATA[Reviews]]></category>

		<category><![CDATA[Feature2]]></category>

		<category><![CDATA[New on DVD]]></category>

		<guid isPermaLink="false">http://ptpopcorn.com/index.php/2010/capitalism-revisited/</guid>
		<description><![CDATA[<b><i>Capitalism: A Love Story</i></b> is classic Michael Moore... which is to say, this is not his best work. It is unevenly entertaining, hopelessly skewed, yell-at-the-screen infuriating (for a number of reasons), and yet still largely compelling, just like the vast majority of Moore’s films. As Jeff Walls noted in his review of the theatrical release, “there’s no denying [Moore] knows how to make his case in a strong and entertaining way.” The film  is certainly worth seeing; but it only tells part of the story. If you like what you find here, take the next step. Get serious. And remember: Michael Moore is an entertainer at heart. And that, my dear friends, is why he (and the rest of us!) likes Wally Shawn.]]></description>
		<wfw:commentRss>http://ptpopcorn.com/index.php/2010/capitalism-revisited/feed/</wfw:commentRss>
		</item>
		<item>
		<title>Brooklyn&#8217;s Finest</title>
		<link>http://ptpopcorn.com/index.php/2010/brooklyns-finest/</link>
		<comments>http://ptpopcorn.com/index.php/2010/brooklyns-finest/#comments</comments>
		<pubDate>Fri, 05 Mar 2010 04:10:32 +0000</pubDate>
		<dc:creator>Jeff Walls</dc:creator>
		
		<category><![CDATA[New This Week]]></category>

		<category><![CDATA[Reviews]]></category>

		<guid isPermaLink="false">http://ptpopcorn.com/index.php/2010/brooklyns-finest/</guid>
		<description><![CDATA[In 2001, Antoine Fuqua directed Ethan Hawke to an Oscar nomination in the down-and-dirty cop drama <i>Training Day</i>.  Now, the two are reuniting for <i>Brooklyn’s Finest</i>, another gritty cop drama, but this time with far poorer results. There is not a single original character or idea in <i>Brooklyn’s Finest</i> and the result had the preview audience complaining of those two-plus hours they will never get back.]]></description>
		<wfw:commentRss>http://ptpopcorn.com/index.php/2010/brooklyns-finest/feed/</wfw:commentRss>
		</item>
		<item>
		<title>Alice in Wonderland</title>
		<link>http://ptpopcorn.com/index.php/2010/alice-in-wonderland/</link>
		<comments>http://ptpopcorn.com/index.php/2010/alice-in-wonderland/#comments</comments>
		<pubDate>Fri, 05 Mar 2010 04:05:18 +0000</pubDate>
		<dc:creator>Jeff Walls</dc:creator>
		
		<category><![CDATA[Features]]></category>

		<category><![CDATA[New This Week]]></category>

		<category><![CDATA[Reviews]]></category>

		<guid isPermaLink="false">http://ptpopcorn.com/index.php/2010/alice-in-wonderland/</guid>
		<description><![CDATA[Director Tim Burton teams up with star Johnny Depp and wife Helena Bonham Carter for the seventh and sixth time, respectively, for this most recent adaptation of Lewis Carroll’s classic novel and its sequel.  The film is being released by Disney, the studio who previously adapted Carroll’s stories in 1951.  But Burton and screenwriter Linda Wolverton are bringing a slightly different take with their new adaptation of <i>Alice in Wonderland</i>, as they have Alice is returning to Wonderland years after her first visit. It’s like what Spielberg did in <i>Hook</i>, only with much better results.]]></description>
		<wfw:commentRss>http://ptpopcorn.com/index.php/2010/alice-in-wonderland/feed/</wfw:commentRss>
		</item>
		<item>
		<title>The Informant! Revisited</title>
		<link>http://ptpopcorn.com/index.php/2010/the-informant-revisited/</link>
		<comments>http://ptpopcorn.com/index.php/2010/the-informant-revisited/#comments</comments>
		<pubDate>Tue, 02 Mar 2010 21:56:32 +0000</pubDate>
		<dc:creator>Greg Wright</dc:creator>
		
		<category><![CDATA[Reviews]]></category>

		<category><![CDATA[Recent DVDs]]></category>

		<guid isPermaLink="false">http://ptpopcorn.com/index.php/2010/the-informant-revisited/</guid>
		<description><![CDATA[If this film was intended to make me feel like a compulsive liar—which, perhaps, I am; it’s hard to tell what the truth actually is after seeing this film—then Steven Soderbergh succeeded brilliantly.  If the point was pretty much anything else at all... well, better luck next time.  Just about everything connected with the film feels like a fabrication, artificial to the core.  Still, it’s likely that this frothy concoction plays exactly as Soderbergh intended from the get-go.  What <i>The Informant!</i> doesn’t offer much of, unfortunately, is any insight into the nature of truth, or truth-telling. Unless...]]></description>
		<wfw:commentRss>http://ptpopcorn.com/index.php/2010/the-informant-revisited/feed/</wfw:commentRss>
		</item>
		<item>
		<title>Mommo</title>
		<link>http://ptpopcorn.com/index.php/2010/mommo/</link>
		<comments>http://ptpopcorn.com/index.php/2010/mommo/#comments</comments>
		<pubDate>Tue, 02 Mar 2010 21:45:25 +0000</pubDate>
		<dc:creator>Greg Wright</dc:creator>
		
		<category><![CDATA[Reviews]]></category>

		<category><![CDATA[DVD Feature]]></category>

		<category><![CDATA[DVD]]></category>

		<category><![CDATA[Recent DVDs]]></category>

		<guid isPermaLink="false">http://ptpopcorn.com/index.php/2010/mommo/</guid>
		<description><![CDATA[What many viewers may miss is the chance the movie provides for a glimpse into our own not-too-distant cultural past.  In cultures that place far less value on leisure that ours does today, children have always represented a blessing styled as “a quiver full of arrows” by the Old Testament—but not because they are merely so many little bundles of joy.  For most of human history, that blessing has been very utilitarian in nature: a means to a family’s livelihood, hands to work the fields.  And history is rife with examples of parents who have simply run away because they find themselves unable to cope with the pressures of feeding them.]]></description>
		<wfw:commentRss>http://ptpopcorn.com/index.php/2010/mommo/feed/</wfw:commentRss>
		</item>
		<item>
		<title>The Ghost Writer</title>
		<link>http://ptpopcorn.com/index.php/2010/the-ghost-writer/</link>
		<comments>http://ptpopcorn.com/index.php/2010/the-ghost-writer/#comments</comments>
		<pubDate>Fri, 26 Feb 2010 04:10:28 +0000</pubDate>
		<dc:creator>Jeff Walls</dc:creator>
		
		<category><![CDATA[New This Week]]></category>

		<category><![CDATA[Reviews]]></category>

		<guid isPermaLink="false">http://ptpopcorn.com/index.php/2010/the-ghost-writer/</guid>
		<description><![CDATA[Director Roman Polanski has been in the news a lot recently, but not for his filmmaking.  Still wanted in the United States for a 1977 sexual assault case, Polanski was recently arrested in Europe and will likely have to travel back to the U.S. for sentencing.  Sounds like the guy could use a distraction and a hit movie may be just what he needs.  But <i>The Ghost Writer</i> moves slowly and the end reveal is not nearly mind-blowing enough to make it worth the monotony.  It’s a nice effort that certainly harkens back to the paranoid thrillers of the seventies, but it is not nearly as successful as, say, <i>Michael Clayton</i>.  Sorry, Jake, this is not <i>Chinatown</i>.]]></description>
		<wfw:commentRss>http://ptpopcorn.com/index.php/2010/the-ghost-writer/feed/</wfw:commentRss>
		</item>
		<item>
		<title>The Crazies</title>
		<link>http://ptpopcorn.com/index.php/2010/the-crazies/</link>
		<comments>http://ptpopcorn.com/index.php/2010/the-crazies/#comments</comments>
		<pubDate>Fri, 26 Feb 2010 04:05:23 +0000</pubDate>
		<dc:creator>Jeff Walls</dc:creator>
		
		<category><![CDATA[Features]]></category>

		<category><![CDATA[New This Week]]></category>

		<category><![CDATA[Reviews]]></category>

		<guid isPermaLink="false">http://ptpopcorn.com/index.php/2010/the-crazies/</guid>
		<description><![CDATA[George A Romero’s name has become synonymous with zombies, so it comes as no surprise that, in this era of fondness for both the undead and remakes, his canon of work is being mined.  Zack Snyder’s 2004 remake of <i>Dawn of the Dead</i> is one of the better of the recent zombie movies and helped usher in the era of the modern, fast-moving zombie.  Now, director Breck Eisner is remaking Romero’s 1973 flick <i>The Crazies</i> and while it is no <i>Dawn of the Dead</i>, it is sure to delight fans of the genre.]]></description>
		<wfw:commentRss>http://ptpopcorn.com/index.php/2010/the-crazies/feed/</wfw:commentRss>
		</item>
		<item>
		<title>Law Abiding Citizen Revisited</title>
		<link>http://ptpopcorn.com/index.php/2010/law-abiding-citizen-revisited/</link>
		<comments>http://ptpopcorn.com/index.php/2010/law-abiding-citizen-revisited/#comments</comments>
		<pubDate>Tue, 23 Feb 2010 21:53:36 +0000</pubDate>
		<dc:creator>Greg Wright</dc:creator>
		
		<category><![CDATA[Commentaries]]></category>

		<category><![CDATA[Feature2]]></category>

		<category><![CDATA[Recent DVDs]]></category>

		<guid isPermaLink="false">http://ptpopcorn.com/index.php/2010/law-abiding-citizen-revisited/</guid>
		<description><![CDATA[Clyde Shelton’s rage of injustice in <i><b>Law Abiding Citizen</b></i> (and our reaction to it) is fueled by the sense that Clarence Darby, the primary perpetrator, isn’t getting what he deserves. On a purely secular level, I get that; but on a broader moral level, none of us get what we deserve. In fact, most of us expend a great deal of daily energy trying to find ways of circumventing our very own laws, and conceptually (read: begrudgingly) agreeing that we will “be accountable for our actions,” as Shelton wishes, only if we are caught red-handed. But when somebody does something really wrong (read: breaking those laws with which we actually agree), by God we want them to pay.]]></description>
		<wfw:commentRss>http://ptpopcorn.com/index.php/2010/law-abiding-citizen-revisited/feed/</wfw:commentRss>
		</item>
		<item>
		<title>Blood Done Sign My Name</title>
		<link>http://ptpopcorn.com/index.php/2010/blood-done-sign-my-name/</link>
		<comments>http://ptpopcorn.com/index.php/2010/blood-done-sign-my-name/#comments</comments>
		<pubDate>Fri, 19 Feb 2010 14:14:16 +0000</pubDate>
		<dc:creator>Greg Wright</dc:creator>
		
		<category><![CDATA[New This Week]]></category>

		<category><![CDATA[Reviews]]></category>

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		<guid isPermaLink="false">http://ptpopcorn.com/index.php/2010/blood-done-sign-my-name/</guid>
		<description><![CDATA[At every step along the way <i><b>Blood Done Sign My Name</b></i> avoids the triumphalist tone of so many civil rights films.  Not once do you get the impression that this is one of those “one act changed everything forever” stories.  Instead it recognizes that the progression toward racial equality was—and remains—a two-step-forward, one-step-back proposition.  It’s a good thing that we don’t get to the end of the film thinking that everything’s gonna be rosy. The strength of Stuart’s film lies not in legal ramifications but in human ramifications.  These will keep you hooked through the two-plus hour running time, and will leave you feeling inspired and satisfied even if the last twenty minutes come off as rather perfunctory.]]></description>
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