Director Laurie Lynd’s comedy is one peel of canned laughter shy of a sitcom, witnessing the trials and tribulations of closeted couple Eric (Tom Cavanagh) and Sam (Ben Shenkman) when they agree to take care of orphan Scot (Noah Bernett).
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Quite simply one of the finest television programmes of the moment, Mad Men
beautifully evokes the period and the entrenched moods of 60s New York, as
seen through the eyes of the Sterling Cooper Advertising Agency and its impeccably tailored staff.
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Adapted from the seminal comic book series created by Alan Moore and
illustrated by Dave Gibbons, Watchmen is an epic battle of good versus evil,
played out against an alternative vision of mid-80s America.
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Blackmail in the workplace leads down the aisle in Anne Fletcher’s scatological romantic comedy, which recalls Sandra Bullock’s finest hour in While You Were Sleeping.
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Some bankers are greedy bastards. Tom Tykwer’s fast-paced conspiracy thriller peddles the obvious as glossy fiction.
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John Travolta is even more wooden that the scenery he insists on chewing in Tony Scott’s testosterone-fuelled remake.
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John Patrick Shanley adapted and directed Meryl Streep, Amy Adams, Philip Seymour Hoffman and Viola Davis all to Oscar nominations in this story of two 60s nuns who suspect a priest of getting a little too friendly with an altar boy.
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A mother’s love knows no bounds in Frozen River, Courtney Hunt’s taut, compact thriller about a single parent fighting nicotine-stained tooth and chipped nail to keep a roof over the heads of her fractured family.
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Melting back and forth between monochrome and colour to reflect the fluctuating emotions of its characters, Kisses is an extraordinary portrait of doomed youth, shot predominantly on the streets of night-time Dublin.
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Duncan Jones’s meditation on solitude dons its moon boots and bounces over similarly rocky terrain to Alien, 2001: A Space Odyssey and Silent Running.
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