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	<title>The Photo Play</title>
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	<lastBuildDate>Tue, 14 Jun 2011 12:40:53 +0000</lastBuildDate>
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		<title>Midnight in Paris</title>
		<link>http://thephotoplay.com/blog/2011/06/midnight-in-paris/</link>
		<comments>http://thephotoplay.com/blog/2011/06/midnight-in-paris/#comments</comments>
		<pubDate>Tue, 14 Jun 2011 02:30:11 +0000</pubDate>
		<dc:creator>Jonathan</dc:creator>
				<category><![CDATA[Main Reviews]]></category>
		<category><![CDATA[Drama]]></category>
		<category><![CDATA[Fantasy]]></category>
		<category><![CDATA[Owen Wilson]]></category>
		<category><![CDATA[Paris]]></category>
		<category><![CDATA[Woody Allen]]></category>

		<guid isPermaLink="false">http://thephotoplay.com/blog/?p=1297</guid>
		<description><![CDATA[You have to hand it to Woody Allen. He may, at his worst, churn out a decade's worth of mediocre movies in a row, but he stays persistent, and his persistence always pays off. For every Scoop and Anything Else, there's a Crimes and Misdemeanors and Match Point. Now, we can add Midnight in Paris to the list of Allen's much-better-than-mediocre creations. The casting of Owen Wilson as the protagonist Gil Pender is strange at first glance, considering Wilson's penchant for starring in comedies fit only for baboons, but Wilson has also been a long-time writing partner with director Wes Anderson, making films that are both poignant and insightful. It's probably no mistake that Wilson does so well playing a Hollywood screenwriter who's dissatisfied with the movies he's helped make.[...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>TRON: Legacy</title>
		<link>http://thephotoplay.com/blog/2010/12/tron-legacy/</link>
		<comments>http://thephotoplay.com/blog/2010/12/tron-legacy/#comments</comments>
		<pubDate>Wed, 22 Dec 2010 18:22:28 +0000</pubDate>
		<dc:creator>Jonathan</dc:creator>
				<category><![CDATA[Main Reviews]]></category>
		<category><![CDATA[Action]]></category>
		<category><![CDATA[Cyberpunk]]></category>
		<category><![CDATA[Jeff Bridges]]></category>
		<category><![CDATA[On DVD]]></category>
		<category><![CDATA[Science Fiction]]></category>

		<guid isPermaLink="false">http://thephotoplay.com/blog/?p=1265</guid>
		<description><![CDATA[The plot of TRON: Legacy is simple enough for a popular audience to quickly grasp, yet rife with complex implications if examined hard enough. Seven years after Kevin Flynn's (Jeff Bridges) original adventure (helpfully recapitulated in a bedtime story Flynn tells his young son Sam) he makes a trip to his office at the arcade and simply vanishes without a trace. Some twenty years later Sam (Garrett Hedlund), now something of a loner rebel anarchist though still majority shareholder in his father's company, is told of a page that came from his father's long-closed office. A few steps later, and Sam is being digitized into his father's late cyberspace creation The Grid, which is every bit as dangerous as the original film's ENCOM mainframe. There he meets his father, who oddly hasn't aged a day since he disappeared...]]></description>
		<wfw:commentRss>http://thephotoplay.com/blog/2010/12/tron-legacy/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Let Me In</title>
		<link>http://thephotoplay.com/blog/2010/10/let-me-in/</link>
		<comments>http://thephotoplay.com/blog/2010/10/let-me-in/#comments</comments>
		<pubDate>Wed, 06 Oct 2010 14:35:32 +0000</pubDate>
		<dc:creator>Jonathan</dc:creator>
				<category><![CDATA[Main Reviews]]></category>
		<category><![CDATA[Chloë Moretz]]></category>
		<category><![CDATA[Drama]]></category>
		<category><![CDATA[Horror]]></category>
		<category><![CDATA[Kodi Smit-McPhee]]></category>
		<category><![CDATA[Matt Reeves]]></category>
		<category><![CDATA[On DVD]]></category>

		<guid isPermaLink="false">http://thephotoplay.com/blog/?p=1235</guid>
		<description><![CDATA["Is there such a thing as evil?" Owen (Kodi Smit-McPhee of The Road) asks his estranged father over the phone one night. He has good reason to ask this question, as the new friend he has made--perhaps the only friend he has had for a long time--subsists on human blood. She lives with an old man who makes mysterious trips in the middle of the night only to return with plastic jugs filled with blood. "He wasn't my dad," she tells Owen. Her name is Abby (Chloë Moretz of Kick-Ass), and she has been alive for a very, very long time. Both children are lonely and vulnerable, although Abby has had more time to adjust to this situation, not to mention she possesses the preternatural strength needed to protect herself. While Owen may one day grow out of his weakness into maturity, they each lack things that the other can provide for them, however temporarily.[...]]]></description>
		<wfw:commentRss>http://thephotoplay.com/blog/2010/10/let-me-in/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The Town</title>
		<link>http://thephotoplay.com/blog/2010/09/the-town/</link>
		<comments>http://thephotoplay.com/blog/2010/09/the-town/#comments</comments>
		<pubDate>Sun, 26 Sep 2010 03:23:29 +0000</pubDate>
		<dc:creator>Jonathan</dc:creator>
				<category><![CDATA[Main Reviews]]></category>
		<category><![CDATA[Ben Affleck]]></category>
		<category><![CDATA[Chris Cooper]]></category>
		<category><![CDATA[Crime/Gangster]]></category>
		<category><![CDATA[Jeremy Renner]]></category>
		<category><![CDATA[On DVD]]></category>
		<category><![CDATA[Rebecca Hall]]></category>

		<guid isPermaLink="false">http://thephotoplay.com/blog/?p=1214</guid>
		<description><![CDATA[Moviegoers who enjoyed Affleck's first directorial effort Gone Baby Gone may feel frustrated with his new movie The Town, eschewing as it does the earlier movie's slow and meditative pacing for a more action-oriented approach. There is no doubt that focusing on the gun-toting action of heists is a crowd-pleaser, and the box office returns seem to bear that out. There are a total of three heists in this film, each unique in its approach and in its target, each smartly conceived and almost flawlessly executed. Even if this film does nothing more than sell Affleck as a solid action director, it would be entirely justified in doing so, as he shows off a skill of choreography that makes films with nearly incomprehensible action scenes like The Bourne Identity look amateurish.[...]]]></description>
		<wfw:commentRss>http://thephotoplay.com/blog/2010/09/the-town/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Big Night</title>
		<link>http://thephotoplay.com/blog/2010/08/big-night/</link>
		<comments>http://thephotoplay.com/blog/2010/08/big-night/#comments</comments>
		<pubDate>Sat, 28 Aug 2010 23:12:31 +0000</pubDate>
		<dc:creator>Jonathan</dc:creator>
				<category><![CDATA[Main Reviews]]></category>
		<category><![CDATA[Drama]]></category>
		<category><![CDATA[Ian Holm]]></category>
		<category><![CDATA[On DVD]]></category>
		<category><![CDATA[Romance]]></category>
		<category><![CDATA[Stanley Tucci]]></category>
		<category><![CDATA[Tony Shalhoub]]></category>

		<guid isPermaLink="false">http://thephotoplay.com/blog/?p=1197</guid>
		<description><![CDATA[&#8220;Paradise!” by Jonathan McDonald There is something frightfully desperate about Big Night, something that puts the lie to the belief that anyone can make it big in America if he works hard and perseveres. As Stanley Tucci&#8217;s Secondo confesses to his rival-friend Pascal (Ian Holm), &#8220;I know in Italy, you work hard, and there is [...]]]></description>
		<wfw:commentRss>http://thephotoplay.com/blog/2010/08/big-night/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Scott Pilgrim vs. The World</title>
		<link>http://thephotoplay.com/blog/2010/08/scott-pilgrim-vs-the-world/</link>
		<comments>http://thephotoplay.com/blog/2010/08/scott-pilgrim-vs-the-world/#comments</comments>
		<pubDate>Sun, 22 Aug 2010 23:38:58 +0000</pubDate>
		<dc:creator>Jonathan</dc:creator>
				<category><![CDATA[Main Reviews]]></category>
		<category><![CDATA[Action]]></category>
		<category><![CDATA[Edgar Wright]]></category>
		<category><![CDATA[Michael Cera]]></category>
		<category><![CDATA[On DVD]]></category>
		<category><![CDATA[Romance]]></category>

		<guid isPermaLink="false">http://thephotoplay.com/blog/?p=1179</guid>
		<description><![CDATA[Imagine, if you will, a world in which video game fights are very real, and interrupt the normal flow of life much like songs in a musical, sweeping the world along into its bizarre unreality until it is completed, at which point life and the world return to normal. That is the bare minimum of what the viewer will need to prepare himself for as he walks into a showing of Scott Pilgrim vs. The World. Directed by British filmmaker Edgar Wright, Pilgrim is full of the manic energy of his earlier films Shaun of the Dead and Hot Fuzz, while adding layers of deftly-wrought magical realism which conjure comic-book aesthetics and video game narrative. It's all so much muchness that upon leaving the theater one might be forgiven for wondering what just happened.[...]]]></description>
		<wfw:commentRss>http://thephotoplay.com/blog/2010/08/scott-pilgrim-vs-the-world/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>La Dolce Vita</title>
		<link>http://thephotoplay.com/blog/2010/08/la-dolce-vita/</link>
		<comments>http://thephotoplay.com/blog/2010/08/la-dolce-vita/#comments</comments>
		<pubDate>Mon, 09 Aug 2010 00:01:16 +0000</pubDate>
		<dc:creator>Jonathan</dc:creator>
				<category><![CDATA[Main Reviews]]></category>
		<category><![CDATA[Federico Fellini]]></category>
		<category><![CDATA[Foreign]]></category>
		<category><![CDATA[Italian]]></category>
		<category><![CDATA[Marcello Mastroianni]]></category>
		<category><![CDATA[On DVD]]></category>

		<guid isPermaLink="false">http://thephotoplay.com/blog/?p=1160</guid>
		<description><![CDATA[Translated, La Dolce Vita means "the sweet life," a title which in this case is surely ironic. The film follows the tempestuous adventures of a journalist named Marcello Rubini who covers events in Rome and its environs. It is one of those films that captures the malaise and soft despair of the modern world so keenly--that non-genre typified in our day by more popular films like Lost in Translation, Garden State and Up in the Air, among so many others--and with an honesty that pulls back just when you think it's idolizing the times, to show you the rotting core underneath.[...]]]></description>
		<wfw:commentRss>http://thephotoplay.com/blog/2010/08/la-dolce-vita/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Salt</title>
		<link>http://thephotoplay.com/blog/2010/07/salt/</link>
		<comments>http://thephotoplay.com/blog/2010/07/salt/#comments</comments>
		<pubDate>Thu, 29 Jul 2010 13:17:11 +0000</pubDate>
		<dc:creator>Philip</dc:creator>
				<category><![CDATA[Main Reviews]]></category>
		<category><![CDATA[Action]]></category>
		<category><![CDATA[Angelina Jolie]]></category>
		<category><![CDATA[On DVD]]></category>
		<category><![CDATA[Spies]]></category>
		<category><![CDATA[Thriller]]></category>

		<guid isPermaLink="false">http://thephotoplay.com/blog/?p=1150</guid>
		<description><![CDATA[Salt, the new thriller starring Angelina Jolie, plays like a retelling of The Bourne Identity where the only major difference between the two is the gender of the protagonist. Substitute Jolie for Matt Damon, and there you have it. A falsely accused CIA agent has to go on the run in order to prove her innocence and protect her country. But are the accusations really false? The filmmakers encourage us to doubt her innocence. Even the trailers try to build up the mystery by asking this stumper: "Who is Salt?" Baffling, I know, and original. The studio is Hollywood, however, and the season is still summer. All that matters is that we see thrilling chases, impossible escapes, and thunderous explosions at the end of every scene. By this standard, Salt certainly delivers.[...]]]></description>
		<wfw:commentRss>http://thephotoplay.com/blog/2010/07/salt/feed/</wfw:commentRss>
		<slash:comments>2</slash:comments>
		</item>
		<item>
		<title>Inception</title>
		<link>http://thephotoplay.com/blog/2010/07/inception/</link>
		<comments>http://thephotoplay.com/blog/2010/07/inception/#comments</comments>
		<pubDate>Fri, 23 Jul 2010 13:46:43 +0000</pubDate>
		<dc:creator>Jonathan</dc:creator>
				<category><![CDATA[Main Reviews]]></category>
		<category><![CDATA[Action]]></category>
		<category><![CDATA[Christopher Nolan]]></category>
		<category><![CDATA[Leonardo DiCaprio]]></category>
		<category><![CDATA[Noir]]></category>
		<category><![CDATA[On DVD]]></category>

		<guid isPermaLink="false">http://thephotoplay.com/blog/?p=1130</guid>
		<description><![CDATA[Christopher Nolan is becoming best-known these days for his Batman movies, but before he was a purveyor of superhero pulp he was reinventing the noir genre for the late twentieth century with mind-bending films like Following and Memento, the latter of which brought Nolan to the attention of American audiences. His films that are not merely adaptations or remakes of the works of others are ridiculously complex and yet still in the end comprehensible and satisfying. (And yes, Memento was an adaptation of his brother's short story "Memento Mori," but the two seem to have been artistic collaborators very early on.) Whenever Nolan adapts a foreign work to film, whether that be the remake of the Nordic movie Insomnia or the filming of Christopher Priest's novel The Prestige, the results are always good, but not as great as his fans know they could be. After making Warner Brothers a giant pile of money with the smarter-than-average The Dark Knight, he has been given a budget large enough to free his delicately intricate imagination to what one can only assume are the distant limits of his capabilities. And yet, at the end of it, one is left believing that he could do even more.[...]]]></description>
		<wfw:commentRss>http://thephotoplay.com/blog/2010/07/inception/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>A Serious Man</title>
		<link>http://thephotoplay.com/blog/2010/07/a-serious-man/</link>
		<comments>http://thephotoplay.com/blog/2010/07/a-serious-man/#comments</comments>
		<pubDate>Thu, 15 Jul 2010 13:56:53 +0000</pubDate>
		<dc:creator>Philip</dc:creator>
				<category><![CDATA[Main Reviews]]></category>
		<category><![CDATA[Coen Brothers]]></category>
		<category><![CDATA[Comedy]]></category>
		<category><![CDATA[Drama]]></category>
		<category><![CDATA[Jewish]]></category>
		<category><![CDATA[On DVD]]></category>

		<guid isPermaLink="false">http://thephotoplay.com/blog/?p=1118</guid>
		<description><![CDATA[A Serious Man (2009), the Coen Brothers' most recent film, opens with a mystifying scene. A husband, Velve (Allen Lewis Rickman), comes home in the middle of a snowy night, marveling. He has a story to tell his wife, Dora (Yelena Shmulenson), and his story goes like this: On his way home, his cart overturned and, being unable to lift it himself, he stood helpless. But a man came along, even though it was the middle of the night, and helped him with his cart. This man was not just any man, however; he was Traitle Groshkover (Fyvush Finkel), a rabbi who can quote every verse of the Torah. That's not possible, Dora says, because Traitle Groshkover died three years ago. Before Velve can respond, a knock comes from the door. It's Rabbi Groshkover. I invited him to dinner, Velve tells his wife. The man comes inside, and things get even stranger. But whether this man is a living person, as the husband believes, or a dybbuk—a wandering malevolent spirit—as the wife believes, we never learn.[...]]]></description>
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		<slash:comments>0</slash:comments>
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