Capsule reviews of drive-in theatre opening this week:
"Cop Out" — This awkward postmodern friend patrolman crack stuffs as most genre references as it can in to the constant chit-chat in between Tracy Morgan and Bruce Willis. They fool around the interconnected troops — detectives Paul Hodges and Jimmy Monroe, respectively — and they competence as well be in opposite movies. Willis, a maestro of patrolman films, is the observable true man. Almost charmingly, he"s essentially perplexing to compromise crimes. Hodges, however, is a parody. One can"t assistance wondering how his partner — let alone his mother (Rashida Jones) — can provide a animation so most similar to a human. Kevin Smith, for the initial time directing from a book not his own, never comes close to raising the movie to the spin of the friend patrolman inspirations. Harold Faltermeyer"s synthesizer-heavy measure recalls his soundtrack from "Beverly Hills Cop," that "Cop Out" falls well short of. R for pervasive denunciation together with passionate references, assault and short sexuality. 110 minutes. One and half stars out of four.
— Jake Coyle, AP Entertainment Writer
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"The Crazies" — Breck Eisner"s reconstitute of George A. Romero"s 1973 cult abhorrence movie presents the undiluted calamity for a flu-fearing times. It"s an appendage of Romero"s zombie movies, deriving the abhorrence from the fright that the rivalry lurks both inside of and but you and that there"s a unequivocally genuine possibility you competence spin in to a monster. Here, folks in a small Iowa tillage locale commencement behaving strangely, heading to a government-ordered troops crackdown. Four heroic survivors (including Timothy Olyphant and Radha Mitchell) try to get out of Dodge, avoiding hazmat-wearing soldiers and their before accessible neighbors. There"s a little confusion over Big Brother, but what "The Crazies" unequivocally taps in to is the pervasive confusion over disease, that impulse when the chairman sitting subsequent to you on the transport or transport or, yes, the movie play breaks in to a coughing fit and you comprehend you"re unarmed. Never mind the pitchfork. Just don"t leave the palm sanitizer at home. R for full of blood assault and language. 101 minutes. Three stars out of four.
— Glenn Whipp, For The Associated Press
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"Defendor" — Imagine Woody Harrelson"s slaphappy wag Woody Boyd from "Cheers" if he were insane as ruin and not formulation to take it anymore. Then give him a nasty, selected World War I ditch bar and spin him lax on the meant streets. That"s rounded off the unfolding in writer-director Peter Stebbings" story of a wannabe superhero with no superpowers and no contentment of brain power, either. The low-budget movie ceaselessly shifts from comic-book travesty to dirty crime story to mental-health drama, the unsuitable tinge preventing it from ever operative as one or another. Harrelson plays a slow-witted man who dresses in a temporary black dress and hits the streets as Defendor, a warrior for justice. He finds an fan in a energetic harlot (Kat Dennings) and an rivalry in a hurtful patrolman (Elias Koteas) concerned with a drug and prostitute oneself ring. Stebbings casts Harrelson as a vigilante with a heart of gold. Trouble is, the favourite seems as most a sadist as the bad guys. R for drug make use of and denunciation throughout, assault and passionate content. 102 minutes. Two stars out of four.
— David Germain, AP Movie Writer
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"A Prophet" — Jacques Audiard"s grand jail play remarkably traces the expansion of an ignoramus French-Arab invalid in to an educated, canny, intrepid crime chieftain. In an well-developed performance, Tahar Rahim plays the immature protagonist, who starts as a scared, humble bone-head but uses his inherited gifts to ingratiate himself and scheme by the jail hierarchy. The movie unfolds with relentless intensity, disagreeable amusement and a illusory suggestion that puts it in a category detached from the common forbidding jail drama. French executive Audiard has crafted an epic, riveting mural of a immature man with a destiny, a Darwinian survivor of the purest sort, an forever variable user and opportunist. The movie took the second-place esteem at last May"s Cannes Film Festival and righteously is giving the first-place leader — "The White Ribbon" — unbending foe for the foreign-language respect at the arriving Academy Awards. R for clever violence, passionate content, nudity, denunciation and drug material. 149 minutes. Three and a half stars out of four.
— David Germain, AP Movie Writer
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"The Yellow Handkerchief" — William Hurt does presumably the most appropriate condemned eyes in Hollywood. His droopy eyeballs are a prominence of this standard-issue indie play about attack the highway with strangers in hopes of reconnecting with an insinuate from your past. As an ex-convict aiming to reunite with a lost love (Maria Bello), Hurt infuses his impression with deep, tangible melancholy, nonetheless the story rides on pure cunning and weepy view that turns to muck by the end. The movie"s main interest rests with excellent performances from Hurt, Bello and co-stars Kristen Stewart and Eddie Redmayne as Hurt"s doubtful roving companions. While Stewart and Redmayne"s characters are thinly developed, all 4 actors move far some-more weight to the story than the scanty play merits. Cinematographer Chris Menges ("The Killing Fields," "The Mission") provides a little dour but beautiful images of Louisiana lagoon nation and the detritus left by Hurricane Katrina. PG-13 for passionate content, a little violence, denunciation and thematic elements. 96 minutes. Two stars out of four.
— David Germain, AP Movie Writer
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