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        <title><![CDATA[ MOVIE REVIEWS - EYE WEEKLY]]></title>
        <link><![CDATA[http://www.eyeweekly.com/onscreen]]></link>
        <language>en-us</language>

        
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                      <title><![CDATA[Empty Nest]]></title>
                      <description><![CDATA[With Empty Nest, Argentine director Daniel Burman (Lost Embrace)
admirably captures the state of mind of a middle-aged couple trying to
restructure their lives after their daughter moves out.]]></description>
                      <link>http://eyeweekly.com/film/onscreen/article/64780</link>
                      <category><![CDATA[film/onscreen]]></category>
                      <keywords><![CDATA[]]></keywords>
                      <pubDate>2009/06/30</pubDate>
                      <guid isPermaLink="true">http://eyeweekly.com/film/onscreen/article/64780</guid>
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                      <title><![CDATA[Finn on the Fly]]></title>
                      <description><![CDATA[Junior-school misfit Ben (Matthew Knight) arrives home from another
tough day of school to discover that his dog Finn has turned into a
full-grown human.]]></description>
                      <link>http://eyeweekly.com/film/onscreen/article/64782</link>
                      <category><![CDATA[film/onscreen]]></category>
                      <keywords><![CDATA[]]></keywords>
                      <pubDate>2009/06/30</pubDate>
                      <guid isPermaLink="true">http://eyeweekly.com/film/onscreen/article/64782</guid>
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                      <title><![CDATA[Public Enemies]]></title>
                      <description><![CDATA[First things first: Michael Mann’s much-discussed decision to shoot his
latest effort on digital video is, at best, highly questionable. Public
Enemies — based on Bryan Burrough’s book about the modernization of the
FBI in response to the headline-grabbing crime sprees of John
Dillinger, Baby Face Nelson et al. — is set in 1933, and the murky
textures of Dante Spinotti’s cinematography seem wholly out of place.]]></description>
                      <link>http://eyeweekly.com/film/onscreen/article/64779</link>
                      <category><![CDATA[film/onscreen]]></category>
                      <keywords><![CDATA[]]></keywords>
                      <pubDate>2009/06/30</pubDate>
                      <guid isPermaLink="true">http://eyeweekly.com/film/onscreen/article/64779</guid>
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                      <title><![CDATA[Moon]]></title>
                      <description><![CDATA[The perennial shortage of thoughtful science fiction for the screen
makes it particularly disappointing for Moon to miss the mark.]]></description>
                      <link>http://eyeweekly.com/film/onscreen/article/64781</link>
                      <category><![CDATA[film/onscreen]]></category>
                      <keywords><![CDATA[]]></keywords>
                      <pubDate>2009/06/30</pubDate>
                      <guid isPermaLink="true">http://eyeweekly.com/film/onscreen/article/64781</guid>
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                      <title><![CDATA[My Sister’s Keeper]]></title>
                      <description><![CDATA[Typically, director/co-writer Nick Cassavetes chronicles the
devastation of childhood illness — and the ways that it bends a family
close to breaking — with an acute sense of emotional manipulation.]]></description>
                      <link>http://eyeweekly.com/film/onscreen/article/64659</link>
                      <category><![CDATA[film/onscreen]]></category>
                      <keywords><![CDATA[]]></keywords>
                      <pubDate>2009/06/26</pubDate>
                      <guid isPermaLink="true">http://eyeweekly.com/film/onscreen/article/64659</guid>
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                      <title><![CDATA[The Girlfriend Experience]]></title>
                      <description><![CDATA[Sasha Grey is hardly the first porn star to develop a profile in more
legit areas of showbiz. But rather than cultivate it via Howard Stern
Show appearances and cameos in gross-out comedies, she prefers a more
artistically adventurous approach. Grey’s collaboration with Steven Soderbergh in The Girlfriend Experience is thus not so surprising given that she’s enough of a film freak to have considered using Anna Karina as her nom de porn.]]></description>
                      <link>http://eyeweekly.com/film/onscreen/article/64164</link>
                      <category><![CDATA[film/onscreen]]></category>
                      <keywords><![CDATA[]]></keywords>
                      <pubDate>2009/06/25</pubDate>
                      <guid isPermaLink="true">http://eyeweekly.com/film/onscreen/article/64164</guid>
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                      <title><![CDATA[Amarcord]]></title>
                      <description><![CDATA[Originally released in 1973, Amarcord became one of Federico Fellini’s best loved films and his biggest hit of the ’70s.]]></description>
                      <link>http://eyeweekly.com/film/onscreen/article/64163</link>
                      <category><![CDATA[film/onscreen]]></category>
                      <keywords><![CDATA[]]></keywords>
                      <pubDate>2009/06/24</pubDate>
                      <guid isPermaLink="true">http://eyeweekly.com/film/onscreen/article/64163</guid>
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                      <title><![CDATA[Cheri]]></title>
                      <description><![CDATA[Twenty-one years after getting in bed together for Dangerous Liaisons,
the team of Michelle Pfeiffer, writer Christopher Hampton and director
Stephen Frears reconvene for a spotty but sufficiently sprightly take
on two novels by Colette.]]></description>
                      <link>http://eyeweekly.com/film/onscreen/article/64162</link>
                      <category><![CDATA[film/onscreen]]></category>
                      <keywords><![CDATA[]]></keywords>
                      <pubDate>2009/06/24</pubDate>
                      <guid isPermaLink="true">http://eyeweekly.com/film/onscreen/article/64162</guid>
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                      <title><![CDATA[Tokyo: Sonata]]></title>
                      <description><![CDATA[Fired from a middle-management job, Ryuhei (Teruyuki Kagawa) wanders
the streets of Tokyo, suddenly uncomfortable in his suit and tie and
petrified at the prospect of admitting failure to his wife Megumi
(Kyoko Koizumi).]]></description>
                      <link>http://eyeweekly.com/film/onscreen/article/64159</link>
                      <category><![CDATA[film/onscreen]]></category>
                      <keywords><![CDATA[]]></keywords>
                      <pubDate>2009/06/24</pubDate>
                      <guid isPermaLink="true">http://eyeweekly.com/film/onscreen/article/64159</guid>
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                      <title><![CDATA[Whatever Works]]></title>
                      <description><![CDATA[Not only is Whatever Works worse than Anything Else, the previous
low-water mark in the increasingly swampy filmography of Woody Allen,
it may actually be worse than anything else, period.]]></description>
                      <link>http://eyeweekly.com/film/onscreen/article/64160</link>
                      <category><![CDATA[film/onscreen]]></category>
                      <keywords><![CDATA[]]></keywords>
                      <pubDate>2009/06/24</pubDate>
                      <guid isPermaLink="true">http://eyeweekly.com/film/onscreen/article/64160</guid>
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                      <title><![CDATA[Transformers: Revenge of the Fallen]]></title>
                      <description><![CDATA[No Michael Bay movie is without its share of WTF moments, be it the
repeated desecration of human remains in Bad Boys II or a solid
seven-tenths of Armageddon. Since Transformers: Revenge of the Fallen
boasts a much-expanded budget and running time than his first tribute
to Hasbro’s shape-shifting toys, us mouth-breathing Bay loyalists
rightly expect to come away from this with our brains screaming. But Bay’s latest summer monstrosity is a giant-robot-sized drag.]]></description>
                      <link>http://eyeweekly.com/film/onscreen/article/64193</link>
                      <category><![CDATA[film/onscreen]]></category>
                      <keywords><![CDATA[]]></keywords>
                      <pubDate>2009/06/24</pubDate>
                      <guid isPermaLink="true">http://eyeweekly.com/film/onscreen/article/64193</guid>
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                      <title><![CDATA[Lady Terminator (a.k.a. Nasty Hunter)]]></title>
                      <description><![CDATA[Turkish Star Wars has nothing on Lady Terminator, a brilliantly
demented Indonesian Xerox of James Cameron’s canonical tech-noir that
substitutes Jakarta for Los Angeles, a twittery pop tartlet for Sarah
Connor and a possessed American grad student for Arnold.]]></description>
                      <link>http://eyeweekly.com/film/onscreen/article/63895</link>
                      <category><![CDATA[film/onscreen]]></category>
                      <keywords><![CDATA[]]></keywords>
                      <pubDate>2009/06/19</pubDate>
                      <guid isPermaLink="true">http://eyeweekly.com/film/onscreen/article/63895</guid>
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                      <title><![CDATA[Year One]]></title>
                      <description><![CDATA[It’s doubtful that Harold Ramis and company were trying to conjure the ghost of Eddie Cantor with Year One,
mostly because their target audience of mall kids doesn’t know who that
is. But the film, which stars Jack Black and Michael Cera as outcast
cavemen anachronistically shticking their way through the early
chapters of the Bible, recalls nothing so much as the great
vaudevillian’s Roman Scandals — right down to the aggressively un-PC bent of the humor.]]></description>
                      <link>http://eyeweekly.com/film/onscreen/article/63883</link>
                      <category><![CDATA[film/onscreen]]></category>
                      <keywords><![CDATA[]]></keywords>
                      <pubDate>2009/06/19</pubDate>
                      <guid isPermaLink="true">http://eyeweekly.com/film/onscreen/article/63883</guid>
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                      <title><![CDATA[The Green Chain]]></title>
                      <description><![CDATA[Playwright Mark Leiren-Young’s debut feature is an attempt to parse the
complexities of British Columbia’s logging industry, one didactic
talking head at a time.]]></description>
                      <link>http://eyeweekly.com/film/onscreen/article/63368</link>
                      <category><![CDATA[film/onscreen]]></category>
                      <keywords><![CDATA[]]></keywords>
                      <pubDate>2009/06/17</pubDate>
                      <guid isPermaLink="true">http://eyeweekly.com/film/onscreen/article/63368</guid>
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                      <title><![CDATA[Summer Hours]]></title>
                      <description><![CDATA[The fates of a few pieces of furniture, a pair of Corot paintings and a
seemingly lowly vase gain surprising poignance in this superb ensemble
drama by French director Olivier Assayas.]]></description>
                      <link>http://eyeweekly.com/film/onscreen/article/63444</link>
                      <category><![CDATA[film/onscreen]]></category>
                      <keywords><![CDATA[]]></keywords>
                      <pubDate>2009/06/17</pubDate>
                      <guid isPermaLink="true">http://eyeweekly.com/film/onscreen/article/63444</guid>
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                      <title><![CDATA[The Baby Formula]]></title>
                      <description><![CDATA[Fake documentaries can be puh-retty funny: the absurdity, foible and
screwball comedy of human existence works well in the fourth
wall–crushing style.]]></description>
                      <link>http://eyeweekly.com/film/onscreen/article/63367</link>
                      <category><![CDATA[film/onscreen]]></category>
                      <keywords><![CDATA[]]></keywords>
                      <pubDate>2009/06/17</pubDate>
                      <guid isPermaLink="true">http://eyeweekly.com/film/onscreen/article/63367</guid>
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                      <title><![CDATA[Food Inc.]]></title>
                      <description><![CDATA[A new entry in the canon of celeb-y message documentaries that look
more like Nissan commercials than Errol Morris, Food, Inc. explains the
multi-tiered insidiousness of the food industry — and the tenuous hope
for it — with an affecting narrative that unravels the co-dependence of
agriculture, fast food, the federal government, and NAFTA (without much
horror-cred paid to big pharma, but they got Roundup and Agent
Orange–producing chemical giant Monsanto good).]]></description>
                      <link>http://eyeweekly.com/film/onscreen/article/63366</link>
                      <category><![CDATA[film/onscreen]]></category>
                      <keywords><![CDATA[]]></keywords>
                      <pubDate>2009/06/17</pubDate>
                      <guid isPermaLink="true">http://eyeweekly.com/film/onscreen/article/63366</guid>
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                      <title><![CDATA[Wind Man]]></title>
                      <description><![CDATA[The second Toronto release this year to emanate from Kazakhstan, Khuat
Akhmetov’s Wind Man is at once a more elaborate and less poetic piece
of Hunger Steppe drama than Sergei Dvortsevoy’s Tulpan.]]></description>
                      <link>http://eyeweekly.com/film/onscreen/article/63369</link>
                      <category><![CDATA[film/onscreen]]></category>
                      <keywords><![CDATA[]]></keywords>
                      <pubDate>2009/06/17</pubDate>
                      <guid isPermaLink="true">http://eyeweekly.com/film/onscreen/article/63369</guid>
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                      <title><![CDATA[The Proposal]]></title>
                      <description><![CDATA[In these hard economic times, people will do anything to keep their jobs in publishing.]]></description>
                      <link>http://eyeweekly.com/film/onscreen/article/63360</link>
                      <category><![CDATA[film/onscreen]]></category>
                      <keywords><![CDATA[]]></keywords>
                      <pubDate>2009/06/17</pubDate>
                      <guid isPermaLink="true">http://eyeweekly.com/film/onscreen/article/63360</guid>
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                      <title><![CDATA[Victoria Day]]></title>
                      <description><![CDATA[As a sensitively rendered study of teenage wildlife, Victoria Day
is not exactly novel. Nor could it be, considering the amount of time
and money that filmmakers spend exploring the tumultuous lives of
adolescents, especially the ones who hook up with vampires.]]></description>
                      <link>http://eyeweekly.com/film/onscreen/article/63358</link>
                      <category><![CDATA[film/onscreen]]></category>
                      <keywords><![CDATA[]]></keywords>
                      <pubDate>2009/06/17</pubDate>
                      <guid isPermaLink="true">http://eyeweekly.com/film/onscreen/article/63358</guid>
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                      <title><![CDATA[Imagine That]]></title>
                      <description><![CDATA[There’s no easy way to get around it: Imagine That<em> </em>is a film
about child abuse. Specifically, it's the unfunny
exploit-your-child’s-telekinetic-powers kind of abuse, which — despite the
film’s frothy Beatles soundtrack and eventual family-values messaging —
leaves a bad taste in your mouth.]]></description>
                      <link>http://eyeweekly.com/film/onscreen/article/63159</link>
                      <category><![CDATA[film/onscreen]]></category>
                      <keywords><![CDATA[]]></keywords>
                      <pubDate>2009/06/12</pubDate>
                      <guid isPermaLink="true">http://eyeweekly.com/film/onscreen/article/63159</guid>
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                      <title><![CDATA[The Taking Of Pelham 1 2 3]]></title>
                      <description><![CDATA[For all of the resemblance that The Taking of Pelham 1 2 3 bears to its
1974 namesake about the hijacking of a NYC subway car by money-mad
kidnappers, it might as well be a remake of Throw Momma from the Train.]]></description>
                      <link>http://eyeweekly.com/film/onscreen/article/62816</link>
                      <category><![CDATA[film/onscreen]]></category>
                      <keywords><![CDATA[]]></keywords>
                      <pubDate>2009/06/10</pubDate>
                      <guid isPermaLink="true">http://eyeweekly.com/film/onscreen/article/62816</guid>
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                      <title><![CDATA[Everlasting Moments]]></title>
                      <description><![CDATA[Jan Troell makes very good on his rep as the éminence grise of Swedish
cinema since the death of Ingmar Bergman with this stately and nuanced
drama, which returns to town after a triumphant run on the festival
circuit last year and a Golden Globe nod.]]></description>
                      <link>http://eyeweekly.com/film/onscreen/article/62820</link>
                      <category><![CDATA[film/onscreen]]></category>
                      <keywords><![CDATA[]]></keywords>
                      <pubDate>2009/06/10</pubDate>
                      <guid isPermaLink="true">http://eyeweekly.com/film/onscreen/article/62820</guid>
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                      <title><![CDATA[Departures]]></title>
                      <description><![CDATA[The surprise winner for the Oscar for best foreign film over The Class
and Waltz With Bashir, Departures is further proof that some viewers —
many of them with Academy voting rights — would rather not face
anything unfamiliar when they walk into a movie theatre.]]></description>
                      <link>http://eyeweekly.com/film/onscreen/article/62818</link>
                      <category><![CDATA[film/onscreen]]></category>
                      <keywords><![CDATA[]]></keywords>
                      <pubDate>2009/06/10</pubDate>
                      <guid isPermaLink="true">http://eyeweekly.com/film/onscreen/article/62818</guid>
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                      <title><![CDATA[Away We Go]]></title>
                      <description><![CDATA[Even the least discerning and most pliant indie hipsters may have
cringed at the poster for Away We Go. That cutesy, post-Juno
graphic-design cocktail of photo, illustration and hand-drawn type was
more than enough to indicate the movie’s target demographic even if
star John Krasinski wasn’t pictured looking like a guy who sells merch
at a Fleet Foxes show.]]></description>
                      <link>http://eyeweekly.com/film/onscreen/article/62822</link>
                      <category><![CDATA[film/onscreen]]></category>
                      <keywords><![CDATA[]]></keywords>
                      <pubDate>2009/06/10</pubDate>
                      <guid isPermaLink="true">http://eyeweekly.com/film/onscreen/article/62822</guid>
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