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This three-screen theater features wheelchair accessible seating, assisted listening devices, online ticketing and a regency rewards program.
Some things are charming about European films that ape Hollywood, the same way that seeing yourself reflected through a funhouse mirror can be. The sentiments aren't quite as saccharine. The obnoxious characters are a touch nastier. Some subplots... More »
Some things are charming about European films that ape Hollywood, the same way that seeing yourself reflected through a funhouse mirror can be. The sentiments aren't quite as saccharine. The obnoxious characters are a touch nastier. Some subplots aren't tidily resolved. Yet despite those deviations, the gist is essentially the same. Such is the case with Love Is All You Need, Susanne Bier's take on a Nancy Meyers rom-com. It's all here, from the house-porn of Italian seaside villas to the farcical tale of couples forged and dissolved. Philip (Pierce Brosnan) and Ida (Trine Dyrholm) are given a wholly unnecessary meet-cute (she crashes her car into his) on the way from Denmark to Italy, where Philip's son is marrying Ida’s daughter. As extended family joins, the film veers from the dramatic (Ida has breast cancer and her husband has left her) to the comic (the husband arrives, floozy in tow) to the farcical and back again. Formulaic despite its trespasses, Love Is All You Need leaves the lingering sensation that more fun could have been had if the film cut loose and lived a little, as its central characters ultimately-- if unoriginally-- learn. Its strongest moments come when Bier exceeds the expectations of the genre, as glimpsed in an incorrigibly narcissistic aunt (Paprika Steen) or a key character's uncertainty about his sexual orientation. In other moments the viewer may sense the whirring of an assembly line's gears obediently at work. « Less
Baz Luhrmann’s latest eye-blinding revelry may have received a mixed bag of critic cracks and cajoles, but there’s no question that his 2001 redres...
Plagued by studio head jitters over flatulence jokes and the use of the N-word, writer-director Mel Brooks’ western spoof almost arrived in theaters hacked and hewn. Fortunately, with the backing of co-writer Richard Pryor, lead Cleavon Little,... More »
Not to be confused for even one second with the VideoX production Bend Her, director William Wyler’s 11 Academy Award-winning epic pits holy hellraiser Chuck Heston against unruly Roman Stephen Boyd in a battle over religious ideology for three... More »
Starring just about every hunky male heartthrob the Mirisch Company could get its hands on, this 1960 revisionist western blazed a new trail for the once pulpy, low-budget cow-poke genre by casting Yul Brynner, Steve McQueen, Charles Bronson,... More »
While belching and barfing flicks may be the current joie de vivre of the Honey Boo Boo masses, during the last great era of moviemaking (that would be the early 1990s), comedies with both brains and benevolence were still coming off the... More »
Master of Suspense Alfred Hitchcock is all the rage right now—two biopics, one focusing on The Birds and one on Psycho—and with so much glammy (and creeper) fodder going around, it’s nice to just sit back and actually watch the masterpieces this... More »
Even though Generation Xbox has been led to believe that movies are appropriate vehicles only for superheroes and remakes (which it thinks are originals), there are still arty people out there fighting the good, indie/foreign/retro film fight. Family-owned and operated, the Regency South Coast Village movie house not only uses REAL butter on its corn (and offers you the fresh kettle-popped variety, too), but it also screens every exceptional documentary, independent and export film worth... More »
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