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Walt Disney Animation once again embraces traditional "princess" fare with Tangled, a cheeky retelling of the Brothers Grimm fairy tale, Rapunzel. In this more action-oriented musical comedy, Rapunzel (voiced by Mandy Moore) is a princess who was abducted as a baby and raised as a virtual prisoner in a remote castle by the evil witch, Mother Gothel (Donna Murphy). Rapunzel boasts 70 feet of magic, golden hair -- hair that keeps Mother from aging.
Why does it feel like this review should be written in capital letters? Perhaps this is just the influence of the DVD tagline, which screams at high volume: FROZEN FOR 150 MILLION YEARS… NOW HE’S HUNGRY!
Following closely on the heels/fins/tentacles of recent schlock cult hit “Sharktopus” is “Dinoshark”, which basically sees legendary B-movie mogul Roger Corman serving up more of the same, with yet another beach resort being terrorised by an unlikely though hungry aquatic fiend. The film certainly has a suitable helmer in Kevin O’Neill, a man who previously swam similar waters with “Dinocroc”, as well as working on visual effects for the likes of the “Piranha” remake and the “Feast” series. Somewhat unusually for this kind of direct to DVD, made for cable foolishness, the film actually has a pretty decent cast, with a handful of semi-recognisable faces, including headline stars Eric Balfour (“Skyline”) and Iva Hasperger (“Exorcism”). The film hits region 2 DVD shortly via Anchor Bay in an extras-free, bones edition, not that it particularly matters.
There are two kinds of thrillers - action-oriented endeavors such as those popularized by James Bond and Jason Bourne, and slow-burn motion pictures that rely less on pyrotechnics and gadgets and more on psychology. The American belongs in the latter category. With an unhurried pace and a focus on character over action or plot, this film takes us into the mind and life of a hardened assassin and follows the story to its natural conclusion. The tale is straightforward but many questions, perhaps tangential to the core narrative, remain unanswered once the screen has faded to black. The American ironically comes with a European flavor, not only because it was filmed overseas but because the style reflects the kind of movies favored by art house and film festival audiences.
Collateral is a classic example of how casting against type can sometimes result in a remarkable success. Here we have Tom Cruise, who has spent the majority of his career playing the good-looking, likeable, action/romantic lead, placed into the role of a grungy (graying hair and lots of stubble), soulless sociopath with penchants for existentialism and jazz. Then there's Jamie Foxx, the TV-weaned comedian of "In Living Color" and "The Jamie Foxx Show," who plays a low-key, meek cab driver caught in a web spun by a capricious whim of fate. And, despite being so far from their respective, familiar acting backyards, both of these performers pull it off. Cruise is chillingly credible as the cold, cruel Vincent. And Foxx shows unexpected depth and humanity as Max, whose night encapsulates the cliché about being in the wrong place at the wrong time.
My Best Friend's Girl
Romantic comedies are fantasies. They invite us to fall in love with the main characters as they fall in love with each other. That's difficult to accomplish when viewers find themselves actively disliking those characters. How is it possible to succumb to the fantasy when its participants are sleazy, creepy, or bitchy? With My Best Friend's Girl, director Howard Deutch has the beginnings of an excellent anti-romantic comedy: unlikeable characters, betrayals, and a general desire to see everyone die in a nuclear holocaust. For a while, My Best Friend's Girl seems to be going in the direction of a full-on black comedy where the words "ever after" are spoken only in reference to the phrase "praying for the end of time" (with apologies to Meat Loaf). Alas, around the halfway point, the film takes a 180-degree turn and tries to follow the formula, reforming the selfish protagonist and proving that true love conquers all. The problem? We still hate the characters and the happy ending feels as much like a cheat as any I have seen all year.
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First, there was the creepy horror of Ridley Scott's atmospheric Alien. Then, some six years later, James Cameron took elements from the first and crafted one of the best science fiction/action films of all time: Aliens. After two such superior efforts, anticipation was high for the third (and final?) installment of the trilogy, especially after early promotional campaigns offered the slogan: "On Earth, everybody can hear you scream."
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Beowulf & Grendel
Beowulf and Grendel takes you into a world of fable and myth, a world where men, larger than life, stride along the border of light and dark, beset by evil dreams and dark vengeance.
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In the noir-ish dystopian future of Sector 70, prosperity belongs to the few - and those determined to take it. Jarron Brenner did well by the system until his body was invaded by the technology he helped to sell. After a series of traumatic events, a mysterious agent Miranda May takes it upon herself to help save Jarron's life. Soon, however, they find themselves hunted by the shadowy forces of a conspiracy to dominate humanity's very soul. The Vanquisher is an enthralling mix of Hong Kong style action and X-Files atmosphere. It is an epic story of man versus destiny.
The film takes place in 2000 in the fictional town of Spurbury, Vermont, near the Canadian border. The plot centers on five Vermont state troopers who seem to have more of a knack for pranks than actual police work. The experienced troopers, Thorn, Mac, and Foster, spend most of their time devising new ways of messing with the heads of the people they pull over and hazing the new recruit, "Rabbit". They also find time to torment their easily infuriated radio dispatcher, Rodney Farva, who has been exiled from patrol work because he was involved in a fight with several students during a (potentially questionable and dubious) traffic stop of a schoolbus, which is later revealed during the credits. Their days of pranking and slacking off are cut short when the troopers suddenly find themselves trying to avoid having their post eliminated by the state's impending budget cut — resulting in their transfer, or quitting and opening up a roller disco.
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20 Years After
Everything that could go wrong did go wrong War, Terrorism, Natural Disasters. Evacuees were ushered from the cities to refugee camps in the surrounding counties. In-fighting, famine and disease took their toll on the survivors.
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Adrift in Manhattan
A meditation on isolation and intersection in the big city - the layered story of three characters who find courage to move to the next stage of life through profound encounters with strangers they meet on their daily routes. Rose, an optometrist paralyzed by crushing grief after the death of her infant, has built a wall around herself, unable to relate to her estranged husband or anyone else. When an elderly patient, a painter losing his eyesight, begins to visit her office unannounced, Rose registers how alone he is, urging him to reach out and ask for help--something neither does easily. Meanwhile Simon, a late-blooming teenager with an overbearing mother, photographs people at a distance with a borrowed long lens. One day, Rose, beautiful and melancholy in a vibrant scarf, comes into focus in his camera sight. The pictures he shoots become a conduit for each of them to touch something deep within and expand their confining existence. - Caroline Libresco
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In a flashback sequence following the first film, Lawrence Gordon (Cary Elwes) crawls from the bathroom to find help after sawing off his foot. Along the way, he reaches a steam pipe and uses it to cauterize his ankle stump. In the present, Ryan (Jon Cor) and Brad (Sebastian Pigott) awaken in a storefront window in a shopping area in front of a crowd of people, their wrists bound to a worktable. In front of each man is a buzz saw, and their mutual lover, Dina (Anne Lee Greene) is suspended above a third saw. Jigsaw's puppet tells them that they can either kill one another or allow Dina to die, and after realizing her betrayal, they decide to save themselves and allow her to lower onto the saw, killing her.
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Selleck plays Phil Blackwood, an American mystery novelist who comes across a dazzling Romanian murder suspect named Nina (Porizkova) when she is arraigned in the courtroom he's visiting. Instantly falling for her, Blackwood poses as a Roman Catholic priest in order to meet her while she is held pending her continued arraignment. With the help of his friend, Sam (Daniels), Blackwood invents an alibi for Nina to secure her release.
Nina then takes up residence with Blackwood, serving as the inspiration for a novel that will decide the fate of his and Sam's careers in writing and publishing, all while evading operatives from communist Romania. The climax of the film takes place during The Funeral of Grimaldi, a jovial memorial service in which many clowns gather to celebrate the life of Joseph Grimaldi.
Although it was Porizkova's best-known film appearance, her role as Nina in Her Alibi earned her a 1990 Golden Raspberry nomination for Worst Actress.
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Set in Louisiana, seven Tulane undergraduates – Sara (Sara Paxton), Nick (Dustin Milligan), Beth (Katharine McPhee), Malik (Sinqua Walls), Maya (Alyssa Diaz), Blake (Chris Zylka) and Gordon (Joel David Moore) – drive to Sara's family vacation home on a secluded private lake near Lake Pontchartrain. At a local bait shop, Sara encounters her old boyfriend, Dennis (Chris Carmack) and his friend, Red (Joshua Leonard). Dennis and Red make racial taunts to Malik and Maya, his Latina fiancee, but Sara diffuses the situation. Sara drives a speedboat recklessly to the vacation home, attracting the attention of Sheriff Sabin (Donal Logue). He chases her, frightening her friends, but then happily shares a beer with them. He tells Sara he is happy to see her back after a three-year-long absence.
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Based on Stephen Kings short story about a Maine textile mill, where its workers come into contact with something far more gruesome than anyone might expect.
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