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Around the world in 90 minutes

Published July 9, 2004

Here he plays globe trotter and betting man Phileas Fogg. There´s something very romantic about the 19th Century, when there were still places left to be discovered, and of course, in due course colonised, although the hangover of colonisation may be somewhat less romantic. The highlights of the film are the CGI travels between countries, when you get an overview of the next port of call. Cecile de France shines as the love interest and we´ll probably be seeing more of her. The cameo´s range from the very brief, such as Richard Branson and John Cleese, to the downright bizarre. The governor of California appears as a Rodin collecting Turkish sultan, and is probably the last person you would expect in such a role. Apparently he tried to have himself cut from the film after entering politics. If he had succeeded this would have been a worse film, but you now wonder whether this may have been his last screen performance. The Wilson brothers are great as the Wright brothers, Owen Wilson currently being a contender for funniest man alive.
Despite all this, the movie seems to drag on. You wish they would have gone for a more straightforward rendition of the story, and left out all the mock fights. This is one Jackie Chan movie that may have been better off without him.



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Artist Kitty Von-Sometime and a crew, including a friend brought along to monitor Kitty’s temperature in the cold, watched uncomfortably as their trailer full of film equipment, an ice sculpture, soda, and other potentially hazardous refreshments bounced in and out of sight in the rearview window as they approached Langjökull glacier. They were on their way to shoot ‘Opus,’ more than a year after Kitty produced her last installment of the Weird Girls Project. Originally conceived to encourage her female friends to push their boundaries, The Weird Girls Project began as a one-time event: the participants showed up with costumes

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RIFF 2014: Critic’s Picks

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‘Art and Craft’ dirs. Sam Cullman, Jennifer Grausman and Mark Becker Mark Landis, one of the more prolific art forgers in American history, shopped for arts and crafts supplies at Hobby Lobby; painted, stained and varnished over photocopies from auction catalogues; and donated copies of the same works to multiple museums. While observing the ease with which the suggestion of largesse will open art-world doors, the film is less a meditation on creativity and originality than a sympathetic character portrait. Landis, a diagnosed schizophrenic often seen hunching over TV dinners in front of reruns, with few anchors in the world

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The old man is describing how impressed he was with Geyser. “A cum shot to the sky,” he says, in his throaty good-old-boy accent. “Like the Devil’s exploding.” In ‘Land Ho!’, which opens the eleventh annual Reykjavík International Film Festival on September 25, Iceland is the backdrop for unlikely couplings. The film is codirected by Martha Stephens and Aaron Katz, two American filmmakers known for ambling, engaging indies featuring plenty of regional specificity, low-key drama, and off-kilter performers. In the film, ex-brothers-in-law Mitch (Earl Lynn Nelson, the above-quoted) and Colin (Paul Eenhorn) take a trip to Iceland to “get their

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Aside from the leads, most of the actors in ‘Land Ho!’  are either Icelanders in service jobs, or people associated with the production. Alice Olivia Clarke, who appears in a crucial late scene, is neither. Canadian-born, Alice Olivia has lived in Iceland for over 20 years, and in addition to acting (you maybe saw her in Dagur Kári’s ‘The Good Heart’, she works in Hafnarfjörður as a mosaic artist and designer. We discussed her experience with the film over email. You play a visitor to Iceland. How was it getting into that mindset? Did you think about Iceland in a

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Way back in June 2011, English film editor Nick Fenton was one of the lucky few sitting in the crowd at the Manchester International Festival waiting to experience the live premiere of Björk’s epic Biophilia project. David Attenborough’s voice came over the speakers, the screens lit up, and the lights went down, and for the first time an audience was transported into the magical world of Biophilia: from the young and excited girl-choir to the specially constructed stage and dramatic new instruments, the dizzying array of nature footage, the firing Tesla coil and, of course, the grand dame herself, bobbing

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