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Brad Pitt is Gerry Lane, a former UN employee.

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Gabriel Basso and Erin Moriarty of "The Kings of Summer"

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Beautiful "Kings" A Summer Delight

Jordan Vogt-Roberts builds a mildly predictable storyline into a refreshing coming-of-age comedy with wit and lovely cinematography. "Parks and Recreation" star Nick Offerman gives a standout performance.

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"World War Z" As Mindless As Its Undead

The zombie film promises a great deal in its exposition. Its visuals impress, but cannot save the production from a meandering and simplified finish.

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Amy Acker sneaks a listen in Joss Whedon's "Much Ado About Nothing."

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Much to Love in "Much Ado"

Joss Whedon's Shakespeare adaptation outdoes most films of its tradition, its stark black-and-white color palate foregrounding the Bard's witty words and the charming performances of its cast.

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Summer At The Movies

As the season's blockbusters vie for box office success, The Crimson reviews the good, the bad, and the ugly of summer film. Check this page for new reviews week by week.

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"White House Down," "Monsters University," "World War Z"

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"The Angels' Share" A Visual Delight

As you can expect in any Loach film, there is no shortage of vividly rendered scenery. The cinematography is a real treat for the eyes, a visual whiskey tasting of colors, textures, and terrains. And despite a lazy plot, "The Angels' Share" still manages to be a heartening and enjoyable story.

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"Gatsby" Not So Great

The real problem at the core of the movie seems to be restraint: Luhrmann has none. In fact, the film is packed so full of confetti and sex that there seems to be little room for one key element: the source text. This makes for an entertaining film, perhaps, but not for a successful adaptation of one of the great American novels.

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Flicks To See After Finals

Whether you're looking to relive the days of Prohibition or want to jet off on the USS Enterprise, summer movie season is here to satisfy your cinematic needs.

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"Pain & Gain" Defines an Aesthetic

“Pain & Gain” is, in the end, a charming paradox. It is the least Michael-Bay film Bay has ever made, containing nearly none of the reckless destruction for which he is known. Yet somehow, it is also the most Michael-Bay a film can get, distilling all of his cinematic techniques down to their essence and deconstructing the aspects that fall into the Bay aesthetic.

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