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All’s Fair in Love and War

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Vaughn has fattened himself up—I hope it’s design and not dissipation—and he proves again he’s a two-key virtuoso, veering between manic jabbering and slack helplessness. I fear that even when he’s eligible for Social Security he’ll be playing the overgrown child-man forced to grow up and become more emotionally available. Aniston, on the other hand, is available as all get out: lithe, toned, bronzed, highlighted, showing off her bod in the money scene, a naked stroll before her ex with freshly shaved (off-camera) privates. Our princess projects so much triumphant healthfulness that she never seems vulnerable—and certainly not to the Duke of Slobovia.

Cavite is a microbudget exercise in sensory overload that leaves you sick on all sorts of levels. To free his mother and sister from Islamic terrorists, its Filipino-American protagonist (co-director–co-writer Ian Gamazon) careers all over an impoverished Philippines city with a camera careering after him and a percussion soundtrack beating on your eardrums. It’s not a particularly complex (or pleasant) film, but along the way you get a glimpse of the kinds of neighborhoods that give birth to anti-Western fanatics.

My review of the scary Al Gore global-warming lecture-documentary, An Inconvenient Truth, was a little too redundant to appear side by side with last week’s Gore cover story—I mean, we wouldn’t want to appear to be on the Gore (or Gore-Obama ’08) bandwagon! Anyway, the review is online. By all means, see the film, and watch who attacks it and on what grounds. Only a brainwashed audience (and its brainwashers) could portray anything Gore says about global warming as even remotely controversial.

The War Tapes
Directed by Deborah Scranton. Senart Films. Not Rated.

The Break-Up
Directed by Peyton Reed. Universal. PG-13.

Cavite
Directed by Neill Dela Llana and Ian Gamazon. Truly Indie. Not Rated.

E-mail: filmcritic@newyorkmag.com.


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