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The supporting cast is all aces. Wilson overcomes his overly broad introductory scenes to render a sympathetic portrait of a happy-go-lucky guy whose charmed life gives him a completely different perspective from that of his wife and brother-in-law. Burrell — also deftly playing against his “Modern Family” persona — has an even bigger challenge locating the soul lurking within a borderline-sleazeball character, but pulls it off in a series of sensitively drawn scenes opposite Hader. Boyd Holbrook rounds out the key players as an Aussie scuba instructor drawn to Maggie’s offbeat vibe.

Tech credits are pro, including Nathan Larson’s sparingly but effectively used score, which is augmented by several great song choices like John Grant’s “Outer Space” and Donnie & Joe Emerson’s “Don’t Fight.” Jennifer Lee’s precise cutting ensures every joke lands, while Reed Morano’s lensing is highlighted by evocative underwater work (captured by Morano herself) in several pivotal scenes.

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Stream Watch Dolphin Tale 2 Full Movie online, Alcon Entertainment has greenlit Dolphin Tale 2, a follow up to its successful 2011 Warner Bros release, it was announced by co-founders and co-CEOs Andrew Kosove and Broderick Johnson.

The entire cast of Dolphin Tale will reunite for the sequel, including Harry Connick Jr., Morgan Freeman, Kris Kristofferson, Ashley Judd, Nathan Gamble and Cozi Zuehlsdorff, among others. Charles Martin Smith (Dolphin Tale, Air Bud) has written the screenplay and will again direct.

The fact-based adaptation Dolphin Tale was originally brought to Alcon by the Company's President Of Worldwide Marketing, Richard Ingber, who also produced, and will serve as a producer on the sequel.

Dolphin Tale 2 tells another true story inspired by the life of the rescued bottle nose dolphin, Winter, this time involving a new baby dolphin named Hope who was also saved and rehabilitated by the Clearwater Marine Aquarium in 2010.

Filming for Dolphin Tale 2 will begin in Clearwater, Florida in October of this year. Distributor Warner Bros is setting September 19, 2014 release date.

Winter, who still resides at the Aquarium, played herself in the original film and returns in "DT2." Hope will play herself in the sequel.

"We are thrilled to be working with David Yates and the Clearwater Marine Aquarium again. The fact that there is another inspirational story to be told regarding Winter is almost more than a filmmaker could ask for," Kosove and Johnson stated.

Release Date: September 19, 2014
Studio: Warner Bros. Pictures
Director: Charles Martin Smith
Screenwriter: Charles Martin Smith
Starring: Harry Connick Jr., Ashley Judd, Morgan Freeman, Kris Kristofferson
Genre: Adventure, Family
MPAA Rating: Not Available
Review: Not Available
DVD Review: Not Available
DVD: Not Available
Movie Poster: Not Available
Production Stills: Not Available
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Watch God Help the Girl Movie Online, “There’s nothing inherently wrong with the long-form, multi-song music video, man.” That’s literally what I was thinking as “God Help The Girl,” the debut directorial debut from songwriter and musician Stuart Murdoch, stretched past its hour-and-a-half mark. The movie doesn’t quite make it to two hours, but my patience was tried pretty much any point at which the movie went a long stretch without a song.

For “God Help The Girl” is indeed a musical, and a good thing, too. The movie has no deficit of talent in the performing department either. The wide-eyed, beguiling Emily Browning plays Eve, a young, dreamy woman struggling with depression, who, upon release from a hospital after a suicide attempt, makes her way into Glasgow with a song in her heart and little else in the way of direction. She bops her way into the life of young musician James (Olly Alexander, so bookish and near-elfin that Michael Cera could probably break him over his knee); a flirtation leads to a roommate situation; a visit to one of James’ music students, Cass (Hannah Murray) leads to a three-way friendship; the friendship leads to a band. Eve’s self-defeating involvement with a snooty French rocker (Pierre Boulanger) leads to a recurrence of emotional trouble. And so it goes.

The story, such as it is, gets punctuation and emphasis via musical numbers, some of which seem to take place in the imaginations of the characters, some in the context of band practice or performance and so on. Said musical numbers are pretty tip-top. Murdoch, who also wrote the songs, is the brains behind the Scottish band Belle and Sebastian, whose canny mix of folk and continental pop stylings inspire the frequent use of the word “twee” among rock critics. I think that’s an unfair call: Belle and Sebastian’s mix of smooth sonics and sardonic wit strikes me as pretty genuine; “twee” implies a level of affectation that the character of the music just doesn’t support. In any event, Murdoch has said that “God Help The Girl,” which has its origins as a concept album of sorts, ended up a vehicle for a group of songs that he felt wouldn’t fit into Belle and Sebastian’s repertoire. I see his point, a bit, but by the same token, I have no problem in saying that if you like Belle and Sebastian’s tunes, you’ll like the almost two dozen songs in “God Help The Girl.” It’s also likely you’ll enjoy the way they’re visualized. Browning gets a lot of nifty retrochic costumes, and the strongest song scenes feel like the picture sleeves of French 45s from the ‘60s come to life. Also beguiling is the perspective on Glasgow; Murdoch shoots it as a largely sunny, sometimes bustling place that occasionally drifts into autumnal quiet.

So what’s the problem? The problem is that Murdoch’s script, and his direction of the non-musical bits, is lackluster to the point of somnambulant. Murdoch’s songs show him a writer of fair-to-excellent verbal wit, and his dialogue has more than a few zingers—“I’ve got the constitution of an abandoned rabbit,” good one—but he simply isn’t a dramatist. He can put together homages to “A Hard Day’s Night” and “Rock And Roll High School” in the space of one song, but he can’t string together really engaging character material when the music’s over. (And his actors try really hard to make up for the deficit.) I really don’t believe in the idea of Critics Telling Artists What To Do, but my idea concerning a long-form music video is not, I believe, an altogether bad one. That is, paradoxical as it might seem, “God Help The Girl” would have felt more like a real movie—and been more fun, and moving—had the story material been cut to the barest of bones, and that narrative, which is pretty slim to begin with, carried on the backs of the songs. Which, I can’t emphasize enough, really are special. Soundtrack album drops in the U.S. this week, and I can recommend THAT without hesitation.
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TAKING "The Age of Innocence," Edith Wharton's sad and elegantly funny novel about New York's highest society in the 1870's, Martin Scorsese has made a gorgeously uncharacteristic Scorsese film. It would be difficult to imagine anything further removed from the director's canon than Wharton's Pulitzer Prize-winning page-turner, not even "The Last Temptation of Christ."

Yet with a fine cast headed by Daniel Day-Lewis, Michelle Pfeiffer and Winona Ryder, Mr. Scorsese has made a big, intelligent movie that functions as if it were a window on a world he had just discovered, and about which he can't wait to spread the news.

The Wharton novel is far more than a romantic tale of a love that can never be. It's a deliciously hard-edged satire of the manners and customs of a small, inbred, very privileged circle of people in an era already long past when the book was published in 1920. Mr. Scorsese's outsider's fascination with the rules of this world matches that of Wharton, whose novel is a bittersweet recollection of the world she was born into, and eventually broke away from.

Working from her text in an adaptation written with Jay Cocks, Mr. Scorsese takes an anthropologist's view of the desperate plight of the three central characters. They are Newland Archer (Mr. Day-Lewis), a rich, well-born young lawyer; his most proper fiancee, May Welland (Ms. Ryder), and the worldly Ellen Olenska (Ms. Pfeiffer), May's first cousin, who has recently returned to New York as a countess after leaving her dissolute Polish husband.

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A lot of that also comes from the fact the film is infused with the sensibilities of James Gunn’s previous work. The whole film teems with sly dialogue, funny asides and dark humor. There’s even a joke about bodily fluids in the movie (not that one or that one. THAT one), all of which give Guardians a rewarding unpredictability.
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This is the first time Gunn has been given a huge canvas and he embraces it. Every action scene feels like it’s crafted by someone who has finally been set loose to create ideas they’ve dreamt of for years. Each action scene has something you probably haven’t seen before, which is pretty awesome. Scenes like thousands of ships combining to form a mesh barricade or Star Lord piloting one ship, while still inside another ship, make the film feel like the biggest action film of the summer.

But really, what holds Guardians of the Galaxy together is its humanity. Sure there’s lots of action and humor but it’s the quiet moments, the pauses, the knowing glances, that make the experience feel so wonderful. That humanity (or whatever passes for humanity when talking about Rocket and Groot) grounds an otherwise fantastic movie as something we can all relate to.

If there’s anything negative to say about the film it’s that Gunn has made a Disney movie. It rides the line of its PG-13 rating content wise but never demands much of the audience. There’s very little subtext or subtlety. Very few beats aren’t laid out to easily digest, save for some of those quiet pauses. Not that a movie like this needs them, but with such a diverse cast of characters and locations a hint of deeper meaning would have enhanced the story.

Anyway, I could gush endlessly about the good things in Guardians of the Galaxy and that’s probably why it works. Pretty much every single element, no matter how crazy or simple, explodes off the screen into a wholly satisfying, entertaining theatrical experience. It might just be my favorite Marvel movie to date.

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When August 1st rolls around and James Gunn gets to show Chris Pratt, Dave Bautista, Zoe Saldana, Rocket (Bradley Cooper voiced) and Groot (Vin Diesel voiced) off to the nation's popular audience, we're going to see a larger reaction than I was anticipating before rolling into a special IMAX presentation of 17 minutes of footage from the film.

At this point, the wow-factor of having something in IMAX 3D is waning for me, especially since all these screenings in New York are on the same screen I saw Avatar on back when it made IMAX 3D new and profitable again.

I'll say this: it's beautiful like space 3D is supposed to be. Space 3D is the best 3D, like I said while Gravity was playing, because there's no back wall to limit depth, things can literally go off into infinity, so you're dealing with a different way to play with 3D objects in space when they're actually... in... space.

Like how Knowhere, the giant alien head planet, looks like both a planet and a giant alien head simultaneously and you don't fall into the (narrow but still present) uncanny valley of Muscle Cars becoming Robots in Chicago. The ships look great, the sets expansive, the colors pop, the 3D is fine (your milage may vary, depending on if you tilt your head or are leaning back but there are no glaring technical errors).
The footage started off with the John C. Reilly narrated line-up that we've been seeing since very early on (except no Drax here, he must be introduced later). It's expanded a bit from the trailer version to explain just how Zoe Saldana's Gamora fits into the world with Lee Pace's Ronin (seen but not heard in this footage) and Karen Gillian's Nebula (also seen not heard) while also being related to Thanos (not seen or heard in the footage, excepting a few frames of Ronin kneeling in front of Thanos' rocket throne from Avengers). Peter Quill, Rocket, Groot and Gamora are all established in the lineup, they're called a bunch of a-holes, then they get processed.

We've seen a lot of the processing from the trailers - that sequence where Chris Pratt confronts the Blue Guard for listening to his walkmen, the shot of Chris Pratt dripping with orange fluid, surrounded by floating sentry drones, all there. One thing that doesn't come off in the previews is how possessive Quill is of his Earth artifacts. Something that looks to soften Gamora a bit when she's watching him getting shocked by that electric stick.

This footage really helped me feel like general audiences are going to get who these characters are without the knowledge of dozens of issues of heavy geeky backstory. There's a part where Rocket explains Dave Bautista's Drax comes from a race of ultra-literate aliens so "nothing's going to go over his head." And the laugh line that ALSO explains character comes from Drax: "Nothing goes over my head...my reflexes are too good. I would catch it."

These moments are everywhere. Gamora says something about how she'd face the worst pains the universe has to offer because it's better than her past. Rocket says he's not a raccoon because there's nothing like Rocket, then Quill gets a look at a unclothed, also wet Rocket and notices a bunch of electronics embedded in his back and you realize he's an experiment in pain. Groot only says "I am Groot," but he's the a gentle giant that just wants to help - GUYS, this works. This works on an adventure film level, a level that Marvel movies haven't really worked on, at least not in this pure an iteration.

Captain America: The Winter Soldier was great, but it still has a huge plot-twist delivered through montage that was just as much in the movie for Captain America as it was for ABC to make their TV show better. Which is fine, because it worked.

Guardians doesn't need that montage moment to work. Good news for Marvel-Lite fans: the exposition is delivered quickly, interspersed with jokes and physical comedy and is shown, not told, if it's going to be important.