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                  <item>
                      <title><![CDATA[Radiohead @ Molson Amphitheatre, Aug. 15]]></title>
                      <description><![CDATA[Those rabid Radiohead fans expecting a set full of hits would have been
disappointed by the absence of “Just”, “Fake Plastic Trees” and other
pre-<em>Kid A</em> standouts. Except that “those” people barely exist — nobody
who even vaguely follows this band would have been surprised by their
reluctance to play to the crowd’s expectations.&nbsp; Instead we got a
sampling of where they’ve been in the current millennium.]]></description>
                      <link>http://eyeweekly.com/music/liveeye/article/36391</link>
                      <category><![CDATA[music/liveeye]]></category>
                      <keywords><![CDATA[]]></keywords>
                      <pubDate>2008-08-17 12:54:28.000</pubDate>
                      <guid isPermaLink="true">http://eyeweekly.com/music/liveeye/article/36391</guid>
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                      <title><![CDATA[Oneida @ Lee's Palace, Aug. 15]]></title>
                      <description><![CDATA[If Oneida
is out to alienate and disappoint fans with instrumental records and
pretentious three-part concept albums, they sure go about it in an
awe-inspiring way. For those of us who chose the Brooklyn noise-groove
quintet (née trio) over that <em>other</em> show, our faith in the unfamiliar was well-rewarded.]]></description>
                      <link>http://eyeweekly.com/music/liveeye/article/36406</link>
                      <category><![CDATA[music/liveeye]]></category>
                      <keywords><![CDATA[]]></keywords>
                      <pubDate>2008-08-18 10:52:52.000</pubDate>
                      <guid isPermaLink="true">http://eyeweekly.com/music/liveeye/article/36406</guid>
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                      <title><![CDATA[Judas Priest @ Metal Masters Tour, Molson Amphitheatre Aug 13]]></title>
                      <description><![CDATA[When the evening’s festivities boast some of heavy metal’s definitive
acts such as Judas Priest, Heaven And Hell (Black Sabbath with Dio for
crying out loud), Motörhead and Testament, it’s no wonder the ‘Banger
Brigade is out in full-force.]]></description>
                      <link>http://eyeweekly.com/music/liveeye/article/36167</link>
                      <category><![CDATA[music/liveeye]]></category>
                      <keywords><![CDATA[]]></keywords>
                      <pubDate>2008-08-14 12:12:27.000</pubDate>
                      <guid isPermaLink="true">http://eyeweekly.com/music/liveeye/article/36167</guid>
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                      <title><![CDATA[Bullet For My Valentine @ Kool Haus, Aug 12]]></title>
                      <description><![CDATA[Welsh outfit Bullet For My Valentine are not, as their name implies, emo, but self-professed practitioners of a New Wave of British Heavy Metal. Kerrang! loves ‘em. They got kicked off a Rob Zombie tour for bad-mouthing him
on their message boards. They play Flying V guitars. So these guys are
obviously candidates to actually cut through this metalcore nonsense
then, right?]]></description>
                      <link>http://eyeweekly.com/music/liveeye/article/36058</link>
                      <category><![CDATA[music/liveeye]]></category>
                      <keywords><![CDATA[]]></keywords>
                      <pubDate>2008-08-13 14:19:35.000</pubDate>
                      <guid isPermaLink="true">http://eyeweekly.com/music/liveeye/article/36058</guid>
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                      <title><![CDATA[Black Rebel Motorcycle Club @ Mod Club, Aug 11]]></title>
                      <description><![CDATA[Sold out before most people even knew it was happening, the return of
Black Rebel Motorcycle Club was a two-hour-plus barrage of treats thrown to an eager fanbase
that proved you don’t need a brand new album or a bunch of media hoo-ha
to create a monstrous buzz.]]></description>
                      <link>http://eyeweekly.com/music/liveeye/article/35797</link>
                      <category><![CDATA[music/liveeye]]></category>
                      <keywords><![CDATA[]]></keywords>
                      <pubDate>2008-08-12 10:16:19.000</pubDate>
                      <guid isPermaLink="true">http://eyeweekly.com/music/liveeye/article/35797</guid>
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                      <title><![CDATA[Place Hands, A History Of, more @ Teranga, Aug 8]]></title>
                      <description><![CDATA[Place Hands' frenetic, arrhythmic songs brought the crowd to proportionately
higher levels of energy than displayed for the other acts, although it
still was a somewhat subdued response to the effort seemingly put forth
by the band. That said, appreciation of the show was palpable, and the
band were definitely having fun while sustaining tightness.]]></description>
                      <link>http://eyeweekly.com/music/liveeye/article/35808</link>
                      <category><![CDATA[music/liveeye]]></category>
                      <keywords><![CDATA[]]></keywords>
                      <pubDate>2008-08-11 12:00:00.000</pubDate>
                      <guid isPermaLink="true">http://eyeweekly.com/music/liveeye/article/35808</guid>
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                      <title><![CDATA[Wolf Parade @ Kool Haus, Aug. 9]]></title>
                      <description><![CDATA[It's hard to complain about what's basically two acts for the price of one, especially when both are so proficient. But the divide evident
on Wolf Parade's sophomore disc, At Mount Zoomer, is so pronounced live that it becomes equally difficult to put much faith in the band's long-term existence.]]></description>
                      <link>http://eyeweekly.com/music/liveeye/article/35696</link>
                      <category><![CDATA[music/liveeye]]></category>
                      <keywords><![CDATA[]]></keywords>
                      <pubDate>2008-08-11 11:46:39.000</pubDate>
                      <guid isPermaLink="true">http://eyeweekly.com/music/liveeye/article/35696</guid>
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                      <title><![CDATA[The Stooges @ Massey Hall, Aug 6]]></title>
                      <description><![CDATA[Despite there being more music critics-per-square-inch present than
at a free SXSW BBQ, our city’s notoriously staid music fans were
giggling like schoolgirls at the sight of the reformed Stooges.]]></description>
                      <link>http://eyeweekly.com/music/liveeye/article/35555</link>
                      <category><![CDATA[music/liveeye]]></category>
                      <keywords><![CDATA[]]></keywords>
                      <pubDate>2008-08-07 12:22:25.000</pubDate>
                      <guid isPermaLink="true">http://eyeweekly.com/music/liveeye/article/35555</guid>
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                      <title><![CDATA[CSS and Go! Team @ Phoenix Concert Theatre, August 5]]></title>
                      <description><![CDATA[There are concerts that make you think and concerts that make you feel.
And then there are concerts that feature keytars and sparkling v-neck
t-shirts. Unsurprisingly, The Go! Team and Cansei de Ser Sexy’s August 5th Phoenix sets fell into the latter category.]]></description>
                      <link>http://eyeweekly.com/music/liveeye/article/35395</link>
                      <category><![CDATA[music/liveeye]]></category>
                      <keywords><![CDATA[]]></keywords>
                      <pubDate>2008-08-06 11:52:22.000</pubDate>
                      <guid isPermaLink="true">http://eyeweekly.com/music/liveeye/article/35395</guid>
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                      <title><![CDATA[More Live Eye...]]></title>
                      <description><![CDATA[
]]></description>
                      <link>http://eyeweekly.com/music/music/article/16555</link>
                      <category><![CDATA[music/music]]></category>
                      <keywords><![CDATA[]]></keywords>
                      <pubDate></pubDate>
                      <guid isPermaLink="true">http://eyeweekly.com/music/music/article/16555</guid>
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                      <title><![CDATA[Death Race]]></title>
                      <description><![CDATA[This loose remake of 1975 cult classic Death Race 2000 has a fatal flaw: thanks to its 18A rating, the only people who’d enjoy the videogame gore — preteen and teen boys — won’t be able to see it without mom or dad holding their hand.&nbsp;]]></description>
                      <link>http://eyeweekly.com/film/film/article/36989</link>
                      <category><![CDATA[film/film]]></category>
                      <keywords><![CDATA[]]></keywords>
                      <pubDate>2008-08-21 16:19:37.000</pubDate>
                      <guid isPermaLink="true">http://eyeweekly.com/film/film/article/36989</guid>
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                      <title><![CDATA[Ivona, Princess of Burgundia]]></title>
                      <description><![CDATA[Prince Philip’s eccentric choice of bride unsettles the king, queen and
the rest of the court. The fact that bride-to-be Ivona, who utters
maybe two lines in this two-plus hour opus, is the most likable
character tells you a lot about the kingdom, which is all electro-pop
dance numbers, misogynist hip-hop talk and frantic flouncing.]]></description>
                      <link>http://eyeweekly.com/arts/theatre/article/36918</link>
                      <category><![CDATA[arts/theatre]]></category>
                      <keywords><![CDATA[]]></keywords>
                      <pubDate></pubDate>
                      <guid isPermaLink="true">http://eyeweekly.com/arts/theatre/article/36918</guid>
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                      <title><![CDATA[The House Bunny]]></title>
                      <description><![CDATA[The sorority in The House Bunny bears the initials ZAZ, after the trio
(David Zucker, Jim Abrahams, and Jerry Zucker) that produced Airplane!
and The Naked Gun. This is probably the subtlest joke in a broad high
concept comedy written – or more precisely recycled -- by the pair
responsible for Legally Blonde.]]></description>
                      <link>http://eyeweekly.com/film/onscreen/article/36907</link>
                      <category><![CDATA[film/onscreen]]></category>
                      <keywords><![CDATA[]]></keywords>
                      <pubDate>2008-08-21 16:24:47.000</pubDate>
                      <guid isPermaLink="true">http://eyeweekly.com/film/onscreen/article/36907</guid>
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                      <title><![CDATA[Wendy and Lucy]]></title>
                      <description><![CDATA[The team behind Old Joy crafts another small-scale, Pacific
Northwestern wonder that’s remarkable for its emotional intimacy. It’s
also a strong showcase for the talents of Michelle Williams. She plays
Wendy, a transient young woman who loses what little control over her
life after things go wrong with her car and her only compadre (the
second half of the titular couple is played by director Kelly
Reichardt’s own dog). This vulnerable figure’s sudden shift to the very
periphery of American society is as wrenching as it is astutely
rendered.]]></description>
                      <link>http://eyeweekly.com/tiff/contemporaryworldcinema/article/36904</link>
                      <category><![CDATA[tiff/contemporaryworldcinema]]></category>
                      <keywords><![CDATA[]]></keywords>
                      <pubDate></pubDate>
                      <guid isPermaLink="true">http://eyeweekly.com/tiff/contemporaryworldcinema/article/36904</guid>
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                      <title><![CDATA[Waltz With Bashir]]></title>
                      <description><![CDATA[An Israeli variation on the memoir-toon template of Persepolis with
more than a few echoes of Waking Life, Ari Folman was a favourite at
Cannes that’s sure to pick up momentum as it comes into circulation.
Waltz With Bashir charts the filmmaker’s quest to learn about his
involvement in a wartime massacre that his memory has preserved only in
ambiguous fragments. Though the decision to use animation may initially
seem counterproductive (especially in the most harrowing scenes), the
largely rotoscoped visuals accentuate the sense of slippage as Folman
offers different versions of what may have happened, and from many
different perspectives. The question of culpability is a thorny one and
the film’s final moments are both devastating and divisive.]]></description>
                      <link>http://eyeweekly.com/tiff/specialpresentations/article/36900</link>
                      <category><![CDATA[tiff/specialpresentations]]></category>
                      <keywords><![CDATA[]]></keywords>
                      <pubDate></pubDate>
                      <guid isPermaLink="true">http://eyeweekly.com/tiff/specialpresentations/article/36900</guid>
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                      <title><![CDATA[Un Conte de Noel]]></title>
                      <description><![CDATA[The French director’s follow-up to his masterful Kings and Queen can be
a right mess at times but this Christmas story’s sheer abundance of
wit, warmth and wisdom makes is very engaging. The cast’s evident
enthusiasm is also infectious, with Deneuve and Amalric proving to be
very worthy adversaries as a mother and son who have a peculiarly
hostile relationship. Even though the relations among the rest of the
clan’s members are not quite so testy as they gather for the holidays,
there’s still plenty of hectic business and unexpected digressions,
some of which turn out to be blind alleys. But amid the chaos lie many
magical moments, largely conjured up by Chiara Mastroianni as a woman
who discovers she might’ve picked the wrong mate.]]></description>
                      <link>http://eyeweekly.com/tiff/specialpresentations/article/36898</link>
                      <category><![CDATA[tiff/specialpresentations]]></category>
                      <keywords><![CDATA[]]></keywords>
                      <pubDate></pubDate>
                      <guid isPermaLink="true">http://eyeweekly.com/tiff/specialpresentations/article/36898</guid>
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                      <title><![CDATA[Tony Manero]]></title>
                      <description><![CDATA[How’s this for a must-see premise? A violent, sociopathic dirtbag in
Pinochet’s Chile pursues his obsession with Saturday Night Fever to
dangerous extremes. Director Pablo Lerrain makes good on the potential
of this concept with an unnerving and often very darkly funny second
feature that’s further distinguished by the stark period detail and
Alfredo Castro’s gonzo performance as the would-be Travolta who does
some unspeakable things in (and to) a pair of white suits.]]></description>
                      <link>http://eyeweekly.com/tiff/discovery/article/36895</link>
                      <category><![CDATA[tiff/discovery]]></category>
                      <keywords><![CDATA[]]></keywords>
                      <pubDate></pubDate>
                      <guid isPermaLink="true">http://eyeweekly.com/tiff/discovery/article/36895</guid>
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                      <title><![CDATA[Tokyo Sonata]]></title>
                      <description><![CDATA[Though a delicate domestic drama is not what one normally expects from
the maker of such existentialist J-horror faves as Pulse, Charisma and
Cure, Kiyoshi Kurosawa’s latest turns out to be as provocative and
unnerving as his best work. Kyoko Koizumi gives a quietly heartbreaking
performance as a middle-class wife and mother who’s unable to keep her
family from disintegrating. While the film’s final-act shift from
gentle naturalism to something more avidly surreal may perplex
newcomers to Kurosawa’s films, it yields some of his most exciting and
moving moments to date.]]></description>
                      <link>http://eyeweekly.com/tiff/masters/article/36892</link>
                      <category><![CDATA[tiff/masters]]></category>
                      <keywords><![CDATA[]]></keywords>
                      <pubDate></pubDate>
                      <guid isPermaLink="true">http://eyeweekly.com/tiff/masters/article/36892</guid>
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                      <title><![CDATA[Three Monkeys]]></title>
                      <description><![CDATA[The Turkish maker of Uzak and Climates goes for the full Antonioni with
this angst-soaked yet beautifully mounted drama, which netted him a
best director prize at Cannes. After a driver takes the fall for a
hit-and-run accident by his politician boss, his wife and son contend
with their own personal crises. A throwback to the weightiest end of
’60s arthouse cinema, the high modernist mode is often intoxicating but
can also be a lot to bear, especially given the near-total absence of
the mordant wit that leavened Ceylan’s past films.]]></description>
                      <link>http://eyeweekly.com/tiff/masters/article/36889</link>
                      <category><![CDATA[tiff/masters]]></category>
                      <keywords><![CDATA[]]></keywords>
                      <pubDate></pubDate>
                      <guid isPermaLink="true">http://eyeweekly.com/tiff/masters/article/36889</guid>
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                      <title><![CDATA[Snow]]></title>
                      <description><![CDATA[The grand prize winner of the International Critics Week at Cannes,
Aida Begic’s debut feature is set in 1997 in a small Bosnian village
that the war has almost completely robbed of its men. The surviving
women must decide whether to keep their homes or sell them off to
developers. Humanely wrought and sensitively rendered by Begic and her
excellent cast, Snow is a work of rare modesty and poignance.]]></description>
                      <link>http://eyeweekly.com/tiff/discovery/article/36885</link>
                      <category><![CDATA[tiff/discovery]]></category>
                      <keywords><![CDATA[]]></keywords>
                      <pubDate></pubDate>
                      <guid isPermaLink="true">http://eyeweekly.com/tiff/discovery/article/36885</guid>
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                      <title><![CDATA[Synecdoche, New York]]></title>
                      <description><![CDATA[Rueful, daring and bleakly funny, Charlie Kaufman’s directorial debut
poses far greater challenges than how to pronounce the title (say it
like Schenectady). Like, for instance, trying to keep track of the
passage of time in this story of a frustrated playwright (played by an
especially shambling Philip Seymour Hoffman) who uses a massive grant
to literally turn his life into a theatrical production. Or, for that
matter, keeping a handle on who’s playing who as characters in the
playwright’s life are integrated into his meisterwerk, and vice versa.]]></description>
                      <link>http://eyeweekly.com/tiff/specialpresentations/article/36887</link>
                      <category><![CDATA[tiff/specialpresentations]]></category>
                      <keywords><![CDATA[]]></keywords>
                      <pubDate></pubDate>
                      <guid isPermaLink="true">http://eyeweekly.com/tiff/specialpresentations/article/36887</guid>
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                      <title><![CDATA[Serbis]]></title>
                      <description><![CDATA[Set in a decrepit and memorably chaotic Manilla porn theatre, the
latest by Brillante Mendoza is a frantic family melodrama that mixes
sleaze and social realism to mostly arresting effect. Though a more
erratic work than the Filipino director’s ’07 TIFF entry Slingshot, it
bristles with the same restless energy. And while the
exploding-ass-boil shot may go several steps beyond the threshold of
genteel viewers, Serbis’ climactic scene proves the worth of an old
showbiz adage: if you’re ever worried that you’re losing the audience,
throw in a runaway goat.]]></description>
                      <link>http://eyeweekly.com/tiff/vanguard/article/36882</link>
                      <category><![CDATA[tiff/vanguard]]></category>
                      <keywords><![CDATA[]]></keywords>
                      <pubDate></pubDate>
                      <guid isPermaLink="true">http://eyeweekly.com/tiff/vanguard/article/36882</guid>
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                      <title><![CDATA[Of Time and the City]]></title>
                      <description><![CDATA[Much missed since 2000’s House of Mirth, British director Terence
Davies is at the top of his craft with this tribute to his dirty ol’
(home)town of Liverpool, a work largely inspired by Listen to Britain,
Humphrey Jennings’ immortal ode to Englishness. Caustic, rueful and
profound in equal measure, Davies’ narration is a marvel of erudition,
especially when he’s venting his spleen in the direction of the Queen
(or Betty, as he calls her). His alternately withering and affectionate
observations are accompanied by an effective montage of archival
footage and newly shot images, as well as some perfectly chosen musical
selections. Is it any surprise Davies hates the Beatles?]]></description>
                      <link>http://eyeweekly.com/tiff/masters/article/36880</link>
                      <category><![CDATA[tiff/masters]]></category>
                      <keywords><![CDATA[]]></keywords>
                      <pubDate></pubDate>
                      <guid isPermaLink="true">http://eyeweekly.com/tiff/masters/article/36880</guid>
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                      <title><![CDATA[Lorna's Silence]]></title>
                      <description><![CDATA[It feels miserly to gripe about a Dardennes movie that may be less than
perfect but is still more courageous and better crafted than the vast
majority of the planet’s cinematic output. It’s also welcome to see the
brotherly Belgian duo take a step outside the comfort zone of their
Palme d’Or-winning, shaky-cam-friendly social-realist aesthetic. Yet
this almost-thriller about a young Albanian woman (Arta Dobroshi) with
grave misgivings about the immigration scam in which she’s involved is
periodically stymied by some uncharacteristic inconsistencies in the
story and the desperate people on display.]]></description>
                      <link>http://eyeweekly.com/tiff/masters/article/36877</link>
                      <category><![CDATA[tiff/masters]]></category>
                      <keywords><![CDATA[]]></keywords>
                      <pubDate></pubDate>
                      <guid isPermaLink="true">http://eyeweekly.com/tiff/masters/article/36877</guid>
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                      <title><![CDATA[Lion's Den]]></title>
                      <description><![CDATA[From the Argentinian director of El Bonaerense and Rolling Family comes
a women-in-prison flick that only occasionally resembles Caged Heat.
The lioness in Lion’s Den is Julia (Martina Gusman), a young pregnant
woman imprisoned for the murder of her boyfriend. After she gives
birth, Julia is allowed her to raise her son in a ward for mothers but
conflict becomes inevitable when she’s compelled to surrender him.
Energized by Gusman’s ferocious performance and marred only by a few
mawkish moments, Pablo Trapero’s fifth feature exhibits the same
strength and tenacity as its heroine.]]></description>
                      <link>http://eyeweekly.com/tiff/contemporaryworldcinema/article/36872</link>
                      <category><![CDATA[tiff/contemporaryworldcinema]]></category>
                      <keywords><![CDATA[]]></keywords>
                      <pubDate></pubDate>
                      <guid isPermaLink="true">http://eyeweekly.com/tiff/contemporaryworldcinema/article/36872</guid>
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