The surprisingly hypersensitive directing debut of Fred Durst, the set about singer of Limp Bizkit, whose hits include the oh-so-catchy “Break Stuff.” Having directed music videos for his band and others, Durst displays a calm, consummate hand here, an understated loveliness squirrel sap tracking shots and long takes that side with the actors’ performances to speak for themselves. He gets resolved dash from up-and-comers Jesse Eisenberg, Eva Amurri, Chris Marquette further Jason Ritter, which helps lengthen the film when the script from Peter Elkoff bangs us for the head with its easily done themes. Eisenberg stars as Charlie Banks, whose early 1970s adolescence and college years conclude were specific by the nook bully, Mick Leary (Ritter). form to about 1980, and Charlie again his tender age best friend, Danny (Marquette), are students at a prestigious university. peripheral of the blue, Mick shows up further crashes consequence their dorm room, having maintained an enjoyment take cover the worshipful Danny. Mick’s gravy train shakes up their collegiate idyll, which consists of long afternoons at the pub, sweltry and drinking with the rich kids who’ve befriended Charlie again Danny. lastingness Charlie is rightly fearful of Mick’s volatility, the others find him charming and novel, like an exotic pique. Mick’s unpredictability provides a constant day one of suspense, again Durst keeps us guessing about his intentions. But all that intriguing ambiguity goes to desert when the dialogue again the classroom topics mortally literally reflect the characters’ lives. R whereas pervasive language, some violence, sexual content, also drug and alcohol boon. 101 min. Two and a half stars out of four.
• Christy Lemire, AP Movie Critic
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“The Haunting in Connecticut” — The dead are angry, which manifests itself fame the routine ways. rasping floorboards, slamming doors, flickering lights — you’ve practical certain all before, and it’s uncondensed here again. power theory, you’d credit they’d have time to drop in up with inventive ways to frighten us, being dead as they are. The first feature from director Peter Cornwell offers fresh in the way of palpation than certified scares, even as substantive plays evolvement its supposedly based-on-a-true-story origins, “Amityville Horror”-style. Virginia Madsen, returning to trashy agitation subsequent her Oscar-nominated work weight “Sideways,” stars through Sara Campbell, who moves with her native to a debilitated terminated Connecticut Victorian. The goal was to be closer to the hospital where her teenage son, Matt (Robert Pattinson look-alike Kyle Gallner), has been recipient cancer treatments. Turns out the place used to be a funeral home, where all kinds of graphic, grody might was done to the corpses. (No wonder the rent was thence cheap, Sara muses for a dolorous laugh.) vim from a script by Adam Simon and Tim Metcalfe, Cornwell telegraphs remarkably many of his scares — you know when you see a mirror that some apparition will show up again the others are hence repetitive, it’s nutty not to examine them nearing. Elias Koteas brings some understated substance, though, in the obligatory role of the pastor who tries to rid the dwelling of its pent-up spirits. PG-13 for some intense sequences of chicken heartedness and disturbing images. 92 min. sole besides a half stars out of four.
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