Local media reported that she was found hanged in the [ Griffin [ The exclusive video obtained by Variety [ The 54th Karlovy Vary Film Festival kicked off Friday with a short explainer in communist-era culture from host Marek Eben, who commemorated the 30th anniversary of the Velvet Revolution in the Czech Republic with a tribute to a retro snack. Eben reminded audiences of what the evening would have looked like if not for the [ By Justin Chang.
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Review: The Captive loses the audience
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- Tower of the Captive;
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- Homeopathic Materia medica of new Drugs;
Login Follow Us. Please fill out this field with valid email address. Sign Up. Advertise About Tips Contact Us. Close menu. The film doesn't convince as a conventional thriller, and as some kind of dream-like fantasy of noir evil, it is frankly dubious.
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Rosario Dawson's cop is supposedly the figurehead for some charity which has something to do with her police work but what, exactly? So she attends a fancy ball in a sexy Cinderella gown, and is then kidnapped by some black-wigged villainess working for the vengeful paedophiles — by slipping a mickey finn into her drink! Has a grownup person written this script? It is embarrassingly unconvincing. The real nadir comes when the paedophile actually allows Matthew a face-to-face meeting with the now teenage Cassandra: he sets up a meet in a remote and snowy spot.
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Father and daughter embrace but when Matthew shows signs of wanting to take Cassandra away, the concealed bad guy shoots him with a stun-dart. Was there a scene in which Matthew wakes up, befuddled, to find Cassandra gone?
I may have missed it. I felt like I had been shot with a stun-dart myself. Then there is the appalling acting — although to be fair to the performers, they were left floundering by the fatuous script. Kevin Durand plays the evil Mika, a guy with greying hair and an unwholesome obsession with Mozart's Magic Flute.
- Bildungspsychologie (German Edition).
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Scott Speedman does a lot of smouldering, brooding and punching people's lights out. Rosario Dawson looks as if she is from another film entirely. Three years ago, Cannes presented a film by Markus Schleinzer, Michael, which showed that with sufficient clarity and courage, these unthinkably shocking ideas can work as cinema.