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“Extraordinary Measures,” a movie about a medical breakthrough, is not especially eager to break new ground of its own. Directed with care and competence by Tom Vaughan (“What Happens in Vegas”), the film hews closely to familiar themes and patterns. One strand is a drama about a family in crisis, with parents facing the illness and possible death of two of their children, who suffer from a fatal genetic disorder. Another piece is a buddy picture, in which a mismatched pair of guys — one earnest and emotive (Brendan Fraser), the other gruff and solitary (Harrison Ford) — set off on an unlikely adventure, hoping to find a cure.
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On a remote island in the Pacific Northwest, a scientist named Dr. Krieger (Udo Kier) is conducting horrific genetic experiments in his secret facility.
Krieger is attempting to create the ultimate soldier for his financial backers and is not above using his own men as test subjects and fodder for his experiments as the morally lacking Krieger only cares about his work and his funding.
In the film “Far Cry”, Director Uwe Boll has taken the classic 3D shooter from Ubisoft and given it his own unique interpretation.
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Screamers 2: The Hunting
If someone asked you to cook up a science-fiction stew, what would you throw into the pot? A little Predator costume design? A splash of Alien corporate intrigue? Some tremors burrowing? A twist of Hardware buzzsaws? And to garnish? Well, that would have to be Lance Henriksen! Throw in at least another half dozen other film references which I must withhold here to protect a few shocks and surprises along the way and what you have is Screamers – The Hunting. While no where near an equal to the illustrious films which have inspired it, this is at least a good looking slice of schlocky sci-fi/horror nonsense.
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30 Days of Night: Dark Days
Let me first start out this review by saying that the 30 Days of Night series and first film are held in high regard with me. The movie fascinated me and basically is what propelled me back into the world of comic books and graphic novels. The first 30 Days of Night movie was so different than what we had been getting fed at the time on the theme of vampires. Vampire novels and books at the time that the original 30 Days came out in theaters had been reduced to romantic sparkling figures who sulked through their eternal life regretting what they were. Gone was the frightening imagery of a rabid undead who didn't think about what it was doing. It just knew it needed to eat to survive.
That's what made me so fond of 30 Days of Night. It was scary and disturbing. It was also mysterious and didn't really give you all the answers to the questions I had. Basically, all you really got was that some vampires somehow found out about a town where it's dark for 30 days and decide to go to an all-you-can-buffet vacation. While sitting in the theater, I kept asking myself "Where did these vampires come from?" Thus, I picked up the graphic novel and read it and loved it. The movie was pretty loyal to the book, give or take a few things here and there. It answered all my questions I had about the original film.
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Ghost Town is one of those romantic comedies that never quite clicks. At times, its humor is effective, provoking chuckles and laughs. At other times, the comedy feels forced and awkward. The romantic element is equally hit-and-miss. The chemistry that emerges between the leads during the film's second half is largely absent from the first 45 minutes. And the premise, rich with promise and pregnant with possibilities, is reduced to a plot device that allows Ghost Town to turn into a low-rent, modern-day version of A Christmas Carol.
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Science of Sleep
The Science of Sleep is director Michael Gondry's feature follow-up to Eternal Sunshine of the Spotless Mind and, in many ways, it feels like an inferior cannibalization of the 2004 movie. Both movies spend lengthy sequences inside the protagonist's head and toy with the line between reality and fantasy. However, there's a key difference. What Eternal Sunshine did with magic and whimsy, The Science of Sleep accomplishes with confusion and pretentiousness. The dream sequences in The Science of Sleep, which comprise an inordinately large fraction of the running time, are dull and off-putting - the work of a man who desperately
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Blades of Glory
Will Ferrell can be the most maddening of comedians. There are times when he's so funny it hurts to watch him. Then there are times when he's so unfunny it's painful in a different way. Consistency, thy name isn't Ferrell. Blades of Glory is pretty much Talladega Nights on skates. It does for figure skating what the earlier film did for NASCAR - right down to the product placements. There are funny bits strewn about but the movie as a whole is a bit of a yawn. Blades of Glory is a feeble satire that doesn't do much that's incisive or interesting, and the tame PG-13 rating keeps the raunchiness in check.
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Freakonomics is a most atypical documentary indeed. Comprised of a collection of shorts by noted filmmakers Morgan Spurlock (Super Size Me), Alex Gibney (Taxi to the Dark Side), Eugene Jarecki (Why We Fight), Seth Gordon (The King of Kong), and Heidi Ewing & Rachel Grady (Jesus Camp), Freakonomics romps through the playground developed by Steven Levitt and Stephen Dubner in their bestselling non-fiction collection of essays, Freakonomics. The resulting documentary, although widely uneven, is fascinating and compelling. And, although many of the subjects may initially seem disconnected, they have an interlocking underlying theme: everything in life is driven by incentives and one key to coming out on top is discovering what the incentives are in a given situation. To make their points, the filmmakers often rely on statistics, which brings to mind the old adage (as popularized by Mark Twain): "Lies, Damned Lies, and Statistics."
Prepare to feel really old—Uma Thurman is playing a “Mrs. Robinson” character. While not yet middle-aged, she is considerably more mature than her would-be suitor. She is not exactly trying to seduce him, either. She is too busy trying to get married in writer-director Max Winkler’s Ceremony, which opens this Friday in New York.
Just because Sam Davis writes wish-fulfillment children’s book to make his meager living does not necessarily mean he is a mild state of arrested development. That just happens to be true in his case as well. During a rough patch with her fiancé, the tall, 30-something Zoe moved back to the City and had a fling with Davis. After she returned to her soon-to-be husband’s Long Island estate, Davis started writing to her. She made the huge mistake of replying.
My Father the Hero
Gerard Depardieu's interpretation of Cyrano De Bergerac was a definitive character in modern cinema, not to mention a jewel in the crown of his career. In fact, he was so impressive in that role that the producers of the comedy My Father the Hero took notice and gave him something similar -- a scene where, while in hiding, he feeds poetic lines of love to his daughter as she courts the favor of a reluctant boyfriend. For some odd reason, it just doesn't have the same impact.
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Bridges of Madison County
Cast against type, Clint Eastwood plays Robert Kincaid, the male protagonist in the motion picture adaptation of Robert James Waller's The Bridges of Madison County. Kincaid is a sensitive loner, and while the actor is certainly known for his portrayal of independently-minded individuals, one would be hard pressed to describe Dirty Harry as a model of sensitivity. Nevertheless, this is not the first time Eastwood (who directs, as well as stars) has successfully stretched his range.
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Robin and the 7 Hoods
The Rat Pack packed it in after this sprightly musical comedy that owes more than it should to Damon Runyon's stories and Frank Loesser and Abe Burrows's classic musical Guys and Dolls. Sammy Cahn and Jimmy Van Heusen's bright and snappy score features such songs as "Style", "Bang-Bang" and the Sinatra standard "My Kind of Town". Set in 1920s Chicago, the tale begins during a birthday party for head mobster Big Jim (Edward G. Robinson) who is shot to death during the celebration. Rival gangster Guy Gisbourne (Peter Falk) immediately declares himself the chief gangster.
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Erik Ponti is a fifteen year old living with his mother and stepfather. At home, his sadistic stepfather beats him for even the most minute infractions. His docile mother ignores her husband's sadistic nature and allows the violence to proceed. At school, Erik is violent and frequently engages in fights, as a result of his violent upbringing. After a particularly vicious fight, Erik is expelled. The headmaster labels him vicious and accuses him of being pure evil. In an attempt to provide her son with a fresh start he sorely needs, his mother sells of some of her possessions and sends Erik to a boarding school.
Clay (as in the title) is a young man in a small town who witnesses his friend kill himself because of the ongoing affair that Clay was having with the mans wife. Feeling guilty, Clay now resists the widow when she presses him to continue with their sexual affairs. Into this comes a serial killer who befriends Clay, even to murdering the nagging widow for him... but certainly not at Clays request. But that doesnt matter for the police, as well as for a savvy female FBI agent who sees Clay as their prime suspect. Yet Clay doesnt tell them of his friend who admits to him of his serial killings, primarily because Clay sees himself as somewhat of an accomplice, in that he seems to have introduced to the killer each young woman that is killed... in fact, the sheriff comments that he wishes Clay would quit finding the murdered victims, which he always seems to do. But at last Clay is able to turn from being the pigeon... to giving the film its very unpredictable conclusion.
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Life in Flight
While collaborating with an urban designer (Collins), an architect (Wilson) begins to second guess the perfect life he has constructed for himself and his family.
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Man's Best Friend
A genetically mutated dog is accidentally released from the lab of Dr. Jarret and ends up at the home of news reporteranimal rights advocate Lori Tanner. The dog, Max, endowed with intelligence and other special abilities, is at first lovable, but also proves to be a ferocious, unstoppable killer.
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