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Star Wars: The Clone Wars. Episode 1: Ambush

"Great leaders inspire greatness in others."

So how do you start off a season of Clone Wars?

Use Master Yoda.

Of course you need to establish the Republic in its prime. And Yoda is a Jedi in his prime.

(I have decided to take Claire's microreview concept further, and will now limit my microreviews to 160 characters, like an SMS message. I don't know if Claire will be amenable to this. Probably not, as she won't even let me teach her how to properly hyperlink on Plurk.)

*some info from Wikipedia
pic from collider.com



Okay, so Pixar has once again proven that it is the best in the computer animation factory of feature films (alliteration is still my favorite figure of speech).

What makes Pixar cooler than its competitors:
  1. Pixar never compromises the story. If the story sucked in the first place, it wouldn't get the green light for production.
  2. Pixar cares not about celebrity voices. Except of course for the Toy Story series, but I can defend that. It just so happens that Tom Hanks's whiny voice is perfect for Woody, and Tim Allen is perfect for Buzz Lightyear. Simple as that. Here in Up, Christopher Plummer and Delroy Lindo are the biggest names in the voice list. Delroy Lindo is okay, since he's not too mainstream anyway, but I don't know about Christopher Plummer, who seems to be making a comeback, what with The Imaginarium of Dr. Parnassus coming up this year. I think he's jealous that the-other-Dracula-also-named-Christopher Lee is still raking up film credits.
  3. Pixar cares not for pop music in their soundtracks. Better to have classical music than Britney Spears.
  4. Pixar directors are good. Hooray for Pete Docter and Bob Peterson.
So that's it. Basically, Pixar does not believe in selling out. Except again for Toy Story, which I just realized used more than two famous actors for voice talents. Well, we can justify it as being Pixar's first feature release, which entitles them to all the mistakes they want to make.

But this is supposed to be a review of Up, not Toy Story. And yet I mentioned Toy Story more. What is wrong with me?

Describe Up in two words: Eye. Candy. The colors, the shapes, and the cuteness of the boy Russell and the talking dog which I'll bet is a Labrador. Russell is so cute that I want to have a kid like him and hope he gets forever stuck at that age, so he will remain that cute forever. But of course, that is impossible. But so is a flying house.

But still, the most beautiful part of the movie was from the very beginning, right up to the part where the old man's wife died. Nothing makes me say "Awww..." more than a montage of childhood sweethearts all the way to old age.

P.S. I really love films with Star Wars references. The Force is strong in Up's animation department.

*some info from IMDb
pic from weblogs.wgntv.com

Up. USA. 2009.

Rating: Eight out of ten.
Russell's cuteness: Nine out of ten.



What this film has proven about Christopher Nolan:

1. Christopher Nolan is undoubtedly one hell of a director, and is one of the best out there right now. I can only imagine how much the budget for this film was, but one thing's for sure: B-movie it ain't.

2. Christopher Nolan is a gifted storyteller. I haven't read the short story "Memento Mori", where this film's screenplay was based, but I can pretty much tell that both Chris and his brother Jonathan have storytelling in their blood.

3. Christopher Nolan is a master of non-linear narratives. I can't even explain it, since it's too complex to put into words.

Memento is like a sort of whodunit, except here you already know whodunit. You just want to know how it actually happens. And all this is done in reverse. It takes a writer with great skill to do that.

Guy Pearce is effective as the goldfish hero, while Carrie-Anne Moss and Joe Pantoliano remind me of The Matrix.

And let me just end by saying that Joe Pantoliano is one really talented actor.

*some info from IMDb
pic from ew.com

Memento. USA. 2000.

Rating: Eight out of ten.
Joe Pantoliano's acting: Nine out of ten.


Resident Evil: Degeneration

Reasons why you would watch this:
  1. The first parts of the movie were cute. It reminded you of those times Resident Evil was actually scary.
  2. Plane crashes, zombies pop out one by one until nomnomnomnom! A planeload of zombies is always a treat.
  3. Claire Redfield tries to protect herself with a red and white umbrella. Get it? Get it?
  4. And Leon S. Kennedy's HAWT because he defies all physics when he didn't die diving in that water tank to escape a fiery explosion. Not to mention escaping from said water trap by breaking glass BY FIRING A GUN UNDERWATER. Wait. This shouldn't be in this list.
  5. Claire Redfield looked like Ashley Tisdale. And Leon's new sexual tension partner looked like an attempt at the love child of Angelina Jolie, that bartender in Shrek 2 and 3, and Idina Menzel. Wait. This shouldn't be in this list.
  6. Having said that, the animation is seriously lagging behind. I mean, look at Final Fantasy IX. They've got better animated chocobo than the facial expressions of Leon's new I-want-to-have-sex-with-you buddy. Okay, seriously, now I'm just playing with all of you. This shouldn't be! Err, this shouldn't be in this list.
  7. I'm not expecting the dialogue to NOT be cheesy. But the least they could have done was put more zombies and less talk. What I got was g-virus infected monster with an eye on its shoulder wanting to mate with the love child of Jolie/Menzel/Shrek's bartender. Seriously? Altogether now: this shouldn't be in this list.
  8. Government conspiracy... ugh. Screw this. I can't think of anything else.

Reasons why you wouldn't watch this:
  1. Because it sucked.


I was going for 2, but Resident Evil was one of my first Playstation sweethearts and even if they keep making crappy movies about it, the least I could do is to add one "point." Letting go sucks!


Pushing Daisies. Season 2, Episode 12: Water & Power

Boring. Not only because they put the Ned/Olive on hold but because it just is. It's boring. But we get to see David Arquette again. And more importantly, Gina Torres (more known in her Firefly role of Zoë).


Music Icons: Les Paul

Les Paul is more than just the name of Gibson's most famous guitar.

He is an innovator, pure and simple. And a true innovator always goes down as legend.

Les Paul understood the guitar inside out, including all the physics involved, like how much energy is used by a vibrating string, or how powerful the sound will be depending on the type of wood. And all that jazz.

He is also an innovator in recording techniques, credited as the pioneer of overdubbing, delay, phasing, and multitrack recording.

Honestly, I was never really familiar about Les Paul the person. Although I am familiar with Les Paul the guitar.

And like I said, Les Paul is now legend, and the person and the music have become one. And the other musicians who have left this earth are now playing with him non-stop in that big jam session in the sky.

Les Paul a.k.a. Lester William Polsfuss. 1915-2009.

*some info from Wikipedia
pic from pioneertroubadours.com


Pushing Daisies. Season 2, Episode 11: Window Dressed to Kill

First and foremost----ffsdaksruwruklflsdjfowierafa jdwoiruaojaajl!!!!!1!!!!! I knew it! I fucking knew it! Of course, it was predictable, but still! They made a fine damn establishment of how the Ned and Olive relationship will grow. And grow, it did. And I am loving, and laughing off, every minute of it. The mystery of the day was also tight too, and good old fun, since there wasn't too much of help from Ned's "magic finger." The direction was priceless. The mystery story may not have mirrored the exploration of Ned/Olive's relationship but the camera techniques, etc., in executing said story mirrored Ned's realization of...watch the goddamn episode. You know what I'm talking about. (I am so full of glee right now I think I'm about to finish my thesis in one sitting. Or blog about it, whatever.) Also, this is the episode that made me realize I found the new television series obsession I've been looking for after five goddamn years. (Excitement makes me curse.)


Pushing Daisies. Season 2, Episode 10: The Norwegians

I love it when things get messy. You've got a runaway zombie here, another group of detectives sniffing your butt there. Plus heartbreaking lines everywhere. Comedies are usually more effective in giving me teary-eyed inducing dialogue since it hits you while you're most vulnerable---heart opened without defenses because of laughter. Also, Ned just tossed Olive a "I wouldn't say never." Exclamation point, exclamation point, and a SQUEEEEE. Some cynics might say that he's letting Olive dangle in the sidelines (pun unintended since they were hanging on a tree branch, yes tree branch, while he said that) and I couldn't agree more. But it doesn't make it less awwww-inducing or less perfect for a shy, keep-it-all-in character (Ned) to let a love triangle member dangle in that way. I love it when they twist the cliché love triangle to make it their own. (Yes, for future notes, I would probably be saying that line over and over and over again.) Also, Olive gets hit on by a lesbian which is probably stereotyping (and the Norwegian-thing was probably racist) but it is soooo cute that I don't mind it. Because hey, Olive tries to flirt with a lesbian! (Or bi, whatever.)


Pushing Daisies. Season 2, Episode 9: The Legend of Merle McQuoddy

This is an episode where I am reminded of a persistent reminder for the brainless critics of the show: "Look, if you think this show's going to be realistic, you've got to be fucking kidding me." Look at the dead bodies, for chrissakes. And if brainless critic still doesn't get that, go watch Beauty and the Geek for your dose of fairy tale. (I am still in shock with the amount of brainless Pushing Daisies critics at imdb.com, sorry.) Moving on, the Emerson/Olive duo is always such a treat. Episodes focusing on them are always three times as funny. In the sidelines are Ned/Chuck trying to win over a head-strong Daddy, replacing the Big Mystery/Big Bad which I think is very Angelus replacing Spike as the Big Bad in Season 2 of Buffy. If you don't get my reference, watch Buffy. I like this episode because they get to justify why it's not un-feminist of Chuck to stay with Ned. That she's not a princess locked in some tower. I like the justification, but I don't believe it. But it works since I won't have the show if they don't stay together.


Pushing Daisies. Season 2, Episode 8: Comfort Food

The episode explores the evaded morality question of Ned's power once again. When Ned let Chuck live for more than a minute, somebody else died in Chuck's place making Ned, well, a homicidal killer. They walked on egg shells in the first season, trying to establish that the guy Ned had "accidentally" killed is a thief anyway. Then they tried to leave it at that. This time, Chuck tricked Ned into letting her dead father live for more than a minute, and somebody else died in her father's place. Which is a good twist when it's revealed to the audience who that somebody was (great establishment, etc.), yes, but another justification of "Well, the guy's evil anyway, so it's okay to 'accidentally' kill him." However this time, we get to discuss it more with Chuck's vivid imagination and guilt. Making it seem like a fun, happy fairy tale still consists of fun, happy, blurry lines of good and evil. Also, watch this episode as Olive does a musical once again. Ned and Olive shippers are far more understandable than Ned and Chuck. Another note on why Ned is so cute: he's so awkward and has this very reluctant smile.

(This is an innovation by Claire, where television shows are reviewed per episode instead of per season. And I shall dub it "microreview". --SL)


What If...(a.k.a. Let's Go Catholics!)

What if...what if...what if...what if...what if...

what if the Roman Catholic Church decided to abandon its medieval ways, and decided that the only way to survive would be to adapt, and that one way to do that would be to make Catholicism cool again, and the Catholic Church tied up with the Hollywood studios (but not in a Da Vinci Code sort of way), and they decided to make movies on the great biblical tales, like the fall of Jericho (in all its CGI-glory), or the story of Samson (but please not Gerard Butler because I don't like him that much), or the exodus from Egypt (in a sort of Cecil B. DeMille-Michael Bay hybrid), or David and Goliath, or the Christian conquest of Rome including the crucifixion of Saint Peter, or on the lives of saints, like Saint Francis of Assissi (but not Mickey Rourke again, please) and his power to talk to animals, or the Jesuit Martyrs of North America, including the execution of Saint Jean de Brebeuf through a gauntlet of Iroquois braves, or the flying saint Joseph of Cupertino?

Are those not way better stories than all these eighties nostalgia flying around (with the exception of a few fanboy flicks)?


Coming Soon: The Imaginarium of Dr. Parnassus

Oh yes. Man-crush time again.

Heath Ledger, why did you leave this Earth so soon?

*video from strah48 at YouTube


G.I. Joe: The Rise of Cobra

Because I am a sucker for girls with glasses...

I ♥ Baroness. I ♥ Baroness. I ♥ Baroness. I ♥ Baroness. I ♥ Baroness. I ♥ Baroness. I ♥ Baroness. I ♥ Baroness. I ♥ Baroness. I ♥ Baroness. I ♥ Baroness. I ♥ Baroness. I ♥ Baroness. I ♥ Baroness. I ♥ Baroness. I ♥ Baroness. I ♥ Baroness. I ♥ Baroness. I ♥ Baroness. I ♥ Baroness.

Sienna Miller as the Baroness scores a ten. But first, what did they do with her accent? She's supposed to be Eastern European, but they made her an American here. She gets a half-point deduction for that. And why did she turn good all of a sudden? Her accent and her evilness are what makes her hot. So another point-five deduction for that. Which brings the Baroness's score to a nine out of ten.

Okay, let's start with the characters, since we're already discussing it.
  • Dennis Quaid as General Hawk: It was okay, I guess. At least he was a believable general.
  • Christopher Eccleston as Destro: Christopher Eccleston is a win. It doesn't matter if they made Destro a Highlander. He pulled off a good Destro, even if he can only speak like a Scotsman.
  • Joseph Gordon Levitt as the future Cobra Commander: Excellent. He even did his own voice. And all the time I was thinking, "Isn't he that kid actor?"
  • Channing Tatum as Duke: Ho-hum. His role could've been played by any Hollywood pretty boy.
  • Byung-hun Lee as Storm Shadow: Who are you? And I don't like your face.
  • Ray Park as Snake Eyes: Cool, as usual. Except for the mouth. Snake Eyes has no mouth! At least not outside the mask.
  • Marlon Wayans as Ripcord: Typical comic relief. But at least he was the funniest in the film, and in the end, he gets a kiss from Scarlett.
  • Rachel Nichols as Scarlett: Yes, she is also hot.
And because I am also a sucker for redheads...

I ♥ Scarlett. I ♥ Scarlett. I ♥ Scarlett. I ♥ Scarlett. I ♥ Scarlett. I ♥ Scarlett. I ♥ Scarlett. I ♥ Scarlett. I ♥ Scarlett. I ♥ Scarlett. I ♥ Scarlett. I ♥ Scarlett. I ♥ Scarlett. I ♥ Scarlett. I ♥ Scarlett. I ♥ Scarlett. I ♥ Scarlett. I ♥ Scarlett. I ♥ Scarlett. I ♥ Scarlett.

What I didn't like about the film:
  • The impossibility of mostly everything here. But of course, this is Hollywood.
  • Losing Baroness's accent (which I already discussed above).
  • Baroness's turncoating (is turncoating a word?).
  • The Baroness-Duke love angle. They were exes? Come on. I'm sure that's just one of the writers' childhood kinks brought to life. Maybe when they were kids, they tried to have their Baroness and Duke action figures try to kiss and make out.
And now on to the film's good points:
  • The chase sequence with the accelerator suits is the best. Like "I-was-shouting-like-a-kid-in-my-seat" best. The only other chase sequence I've seen that can rival this one would be the freeway scene from The Matrix Reloaded.
  • There are a lot of references from Star Wars. Just keep your eyes open. And you have to be a Star Wars fan to get it.
  • The film succeeded in doing what it was created to do: that is, play like a movie based on a toy. Because the entire movie is like a Toys for the Big Boys catalogue. I want to have everything they have there, from the accelerator suits, to the chameleon suit, to their jets. Everything.
  • The Snake Eyes-Storm Shadow fight scenes were great, but what was even better was the fight scene between the young Snake Eyes and Storm Shadow.
  • And of course, I also loved the catfight between Baroness and Scarlett. For more girl to girl action. (Is it "girl to girl" or "girl on girl"?)
And because I am a sucker for girls with glasses and redheads...

I ♥ Baroness and Scarlett. I ♥ Baroness and Scarlett. I ♥ Baroness and Scarlett. I ♥ Baroness and Scarlett. I ♥ Baroness and Scarlett. I ♥ Baroness and Scarlett. I ♥ Baroness and Scarlett. I ♥ Baroness and Scarlett. I ♥ Baroness and Scarlett. I ♥ Baroness and Scarlett. I ♥ Baroness and Scarlett. I ♥ Baroness and Scarlett. I ♥ Baroness and Scarlett. I ♥ Baroness and Scarlett. I ♥ Baroness and Scarlett. I ♥ Baroness and Scarlett. I ♥ Baroness and Scarlett. I ♥ Baroness and Scarlett. I ♥ Baroness and Scarlett. I ♥ Baroness and Scarlett.

But I ♥ Baroness more.

*some info from IMDb
pic from geektyrant.com

G.I. Joe: The Rise of Cobra. USA. 2009.

Rating: Seven out of ten.
Scarlett: Eight point eight out of ten.
Baroness: Nine out of ten (see breakdown above).


Movie Icons: John Hughes

The problem with ruling a decade is that once the next decade comes in, no one remembers you anymore.

That, I believe, is the case with John Hughes. He ruled the eighties as a producer-writer-director. In the nineties, he concentrated more on screenwriting and producing. And by the turn of the century, he was slowly fading from public consciousness.

Mr. John Hughes was not a big-shot Oscar-winning director, nor was he a blockbuster king like Michael Bay. His films were simple, and rarely relied, if at all, on special effects.

What John Hughes has accomplished as a filmmaker was really the ability to encapsulate. Most of his films, especially the ones he directed, can be considered time capsules. If you want to find out about eighties love, watch Sixteen Candles. If you want to learn about detention in the American school system, watch The Breakfast Club. Hughes not only captures the spirit of the times, but the essence as well.

Too bad about his discoveries, though. Molly Ringwald and Macaulay Culkin went on to become famous, but not superstars. But still, John Hughes has given eighties kids something they will cherish forever---films about them, in their time. And for that, we honor a filmmaker who has given those now-grown up kids something to be nostalgic about.

John Hughes, Jr. 1950-2009.

*some info from Wikipedia
pic from eonline.com


Last Supper No. 3

I heart indie films.

Let's break it down.

Screenplay: Check. This was based on a true story. And it shows, really. You can also tell that the director is familiar with legalese. She revealed that she spent two years in law school. And she was sensitive enough to bring the highfalutin legal concepts down to the level of the average moviegoer.

Directing: Check. Veronica Velasco is now my favorite female director. Her storytelling style is actually a dead giveaway that although this may be her first solo stint, she has undoubtedly been doing this for a loooong time.

Cinematography: Check. I knew cinematographer Mo Zee back when he was still Moises Zee (and that was a loooong time ago). And his lighting here is very commendable.

Acting: Check. Check. Check. Ad infinitum. Oh yes, this film would not have worked without the brilliant actors involved. Ms. Debraliz Valasote did not shine too much in this film, but perhaps that was the director's intent for her character. Beverly Salviejo, on the other hand, was brilliant. And when she revealed that she had to really tone down her acting (like way, way down), that was even more brilliant. Jojit Lorenzo is excellent as the despicable Gareth, and acting like a jerk seems to come quite naturally to him. That young hot lawyer was really cute, but she's too small for me. But she's cute. But she's small. But she's cute. And of course, Joey Paras in the lead role is simply wonderful.

And let us not forget the A-list actors who agreed to do a cameo. Bravo to these mainstream stars, who are not hesitant to grace the independent screen with their presence. Mark Meily as a judge=win. Ricky Davao as a cop=double win. And Ms. Maricel Soriano as a court empoyee=triple win. I heart you, Marya.

This film made me think a lot about independent filmmaking as a legitimate school of thought. And the only possible problem that occured to me was that the true essence of independent filmmaking is not yet known even to the independent filmmakers themselves. And if not careful, there will come a time sooner or later when independent cinema will eventually merge with the mainstream, thus eradicating the independent school altogether. Independent cinema has a different soul. Preserve it. By all means necessary.

Meanwhile, let us congratulate the winner for Cinemalaya Best Picture 2009. And let's hope this is not Ms. Veronica Velasco's last supper, as I would definitely keep track of her career.

P.S. Boo to the world wide web for not having high-res pics from this film.

*pic from pinoyindiefilms.com

Last Supper No. 3. Philippines. 2009.

Rating: Nine out of ten.
Marya's cameo: Nine out of ten.


Dinig Sana Kita (If I Knew What You Said)

First of all, hooray for Cinemalaya.

Okay, I shall divide this review into Boos and Bravos.

  • Boo for the cutting. There are a lot of unnecessary cuts. There are cuts when even a single shot would work. But that's all up to the director, so you can't really blame him.
  • Do not use an iPod when you won't even reveal the music. And that is my problem with the music laws in general. The independent filmmakers are held back because they cannot use pop music in their films. If you use a famous song, you pay. And most of the time, the famous songs are the ones that capture the emotion that you want to convey. So because of these copyright laws, we are deprived of good music in our independent films.
  • They didn't have to divide the film between the two main characters. What they did was they named the first part "Niña" because it was supposed to be about the girl; and they named the second part "Kiko" because it apparently focused on the guy. But all that was unnecessary, as it was one long narrative anyway.
  • Must remember to watch foreign films then study how they pace and frame a conversation between two characters in a moving car. It didn't work in this film.
  • Although the cinematographer Albert Banzon is a friend of mine, the lighting could've used some improvement. But then again, this is an indie film, and they could have had some budget problems.

  • The actress who played Niña was really, really good. She is a really good actor, and she will hopefully get a break. And she's only sixteen.
  • The appearance of the band Sugarfree was a pleasant surprise.
  • Bravo to the Michael Jackson references. Once scene had the girl wearing a hand-drawn Michael Jackson shirt (from the album cover of Thriller), and the other scene had her band members dancing to "Beat It". This made me wonder if they shot this before or after Michael Jackson died. But knowing indie filmmaking, it would've been impossible for them to have shot this after his death. So I just thougt that it was a really great coincidence.
  • For tackling the subject matter, this film has already exceeded my expectations. Never, ever have I thought that an indie film would tackle deafness, previously considered taboo in mainstream cinema.
  • Bravo to a lot of deaf stereotypes shattered by this film. Deaf people can dance because they can feel the vibrations, and they count their steps. Tell that to anyone who thinks the deaf don't dance.
  • This film used a lot of sign language. A lot. This justified why there were two people in line behind us conversing in sign.
  • Bravo to the really talented deaf actors. I want to learn sign language. Like right now.
  • I now know how to say "Sorry" and "Friend" in sign.
  • I cried. This is officially the first indie film that made me cry.
Okay, one final lesson I learned from this film: Never, ever use the same standards when comparing a stadard A-list movie and an independent film. Indie films should be judged according to their individual merits, and not according to what they failed to achieve.

And because my friends are camwhores, we had our picture taken with the female star of the movie. She's the one who played Niña.

*pic from pinoyindiefilms.com

Dinig Sana Kita. Philippines. 2009.

Rating: Eight out of ten.


Harry Potter and the Half-Blood Prince

"No, Miss Granger, I have no potion to improve acting."

(Boo to Claire for not reviewing this despite watching it first.)

They say this is like The Dark Knight of the Harry Potter franchise. I say not really.

Okay, first thing's first. Let's get the adaptation issue out of the way.

This is already the sixth Potter adaptation. Everyone should know by now that the movie is not like the book. There are some exceptions, of course, but as a general rule, do not expect the movie version to be a hundred percent faithful to the adapted source.

So what can I say about Half-Blood Prince? It's darker. Edgier. Less action than Order of the Phoenix, but we have more flashbacks of Tom Riddle, which makes it a treat for fans of the book.

Emma Watson and Bonnie Wright are getting prettier and prettier. But sadly, Emma Watson's acting hasn't improved much. Just a little. She doesn't overact that much anymore. Daniel Radcliffe's acting has improved a lot. And Rupert Grint is always good.

On the adults' performances, Mrs. Tim Burton a.k.a. Helena Bonham Carter is in her element as usual, while Jim Broadbent is excellent as Professor Horace Slughorn. Alan Rickman is still the best. And Michael Gambon tends to look like Gandalf the Grey in a lot of shots. Must be the hair. And the beard. Or both.

This reminds me of something Homer Simpson once said: "No man should outlive his fictional wizard." Which is exactly what I felt when Dumbledore, you know, died.

Again, they say this is The Dark Knight of the Potter franchise. And I say The Dark Knight does not have any teeny-bopper romance going on every fifteen minutes or so.

*some info from IMDb
pic from movies.msn.com

Harry Potter and the Half-Blood Prince. UK. 2009.

Rating: Seven and a half out of ten.



Just because a movie has Clive Owen, Julia Roberts, Tom Wilkinson, and Paul Giamatti in it, doesn't mean it won't be boring.

The thing is, it may be an espionage flick (which I love), and it may have spy-thriller editing, but the script, honestly, was a bit confusing. It's the type of film that you may need to watch twice or thrice to get the true plot.

This film was written and directed by Tony Gilroy, and the screenplay was all right, since Mr. Gilroy is already a veteran screenwriter. But something was amiss, and it most probably was the directing.

A real cinematic gem is something you can appreciate the first time, and like fine wine, gets better and better the more you watch it.

And since I didn't appreciate this film the first time...I'm sorry Mr. Gilroy. But I'll give you a passing score, if just for that slow-motion fight scene between Paul Giamatti and Tom Wilkinson in the opening credits (see pic).

*some info from IMDb
pic from zap2it.com

Duplicity. USA. 2009.

Rating: Six and a half out of ten.
Paul Giamatti and Tom Wilkinson's fight scene: Eight out of ten.


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