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A Nightmare on Elm Street
We're not usually ones to advocate for more skin in a non-'skin-flick' (well, okay— we are), but this is one of those rare instances where a film broaches the risky 'too-serious' shooting style for a premise as implausible and silly as they come. What would fix this? Surely taking a deep breath and letting go of the pretence, embracing the silliness and giving people as much titillation as possible. Heck—it worked for Wes Craven's original film back in 1984 and again most recently with 'Jennifer's Body'. Unfortunately, 'A Nightmare on Elm Street' is neither as enjoyably schlock as the original or as slickly produced (and marketed) as the successful Megan Fox creature feature.
For those unfamiliar with the dubiously "classic" original, A Nightmare on Elm Street is a slasher-film in the purest sense, revolving around the killing of teens – and lots of them. The villain is the iconic Freddy Krueger, a being who haunts his victims in their dreams, breaking through to their waking lives to tear them apart with his single finger-bladed glove.
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(500) Days of Summer
Early in “(500) Days of Summer” the omniscient narrator who intermittently (and somewhat annoyingly) comments on the action cautions that the movie is “not a love story.” The print advertisements qualify his words, describing this slight, charming and refreshingly candid little picture as “a story about love.” Which it is: a story about how love can be confusing, contingent and asymmetrical, and about how love can fail. Given all this, it’s somewhat remarkable that “(500) Days,” the feature directing debut of the music video auteur Marc Webb, is neither depressing nor French.
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Shrek Forever After
When I heard this movie was coming out, I was like, “Another one?” This is the fourth movie in the Shrek series, the previous films being Shrek, Shrek 2, and Shrek the Third. I didn’t expect it to be good, because most sequels can never match up to the first movie. But, this one definitely met up to my standards.
The story begins with the King (John Cleese) and Queen (Julie Andrews) begging Rumpelstiltskin (Walt Dohrn) to help them lift their daughter’s curse in exchange for the Far Far Away kingdom. Rumpelstiltskin is ecstatic — he has always wanted to rule his own empire. But right before the King signs the magical contract, a messenger rushes in to say that Fiona (Cameron Diaz) has been rescued. Forgetting completely about Rumpelstiltskin, the King and Queen rejoice.
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Robot Chicken: Star Wars
Not long ago, from a galaxy not far enough away comes Robot Chicken: Star Wars! Featuring sketches which parody George Lucas’s epic saga together with stop motion animation using claymation and plastic toys, it’s an excellent send up of a classic which also manages to answer some questions you might have had, like what would happen if Jar Jar Binks met up with Anakin Skywalker later on when he’s Darth Vader or how George Lucas would escape from fans at a Star Wars convention!
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After the Wedding
Over the past 15 years with Lars von Trier as its poster boy, Danish cinema has gained an international reputation as cynical and severe. The humor is grim, the drama is grimmer, and the production values are ascetic. So After the Wedding is a fresh and welcome change. Although it doesn't stray far from the "back to basics" Dogme 95 filmmaking values promoted by von Trier (handheld cameras, no artificial lighting, etc.), this melodrama is hopeful and optimistic. It shows that human beings are capable of good things and the defining characteristic of a modern man is not moral corruption.
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I'm sure the story of bounty-hunter Domino Harvey would make for compelling cinema if only Tony Scott had decided to film it without the masturbatory excesses that are evident in Domino. Over-the-top doesn't begin to describe Scott's off-putting, intrusive style. Cutting with rapid-fire precision that would make a machine gun seem slow, Scott never allows his restless camera to stay with one shot or angle for more than about a second. Domino looks like it was hyped up on speed and acid. It's ADHD filmmaking. One can understand short action sequences being presented in this chaotic, staccato manner, but Domino goes on like this for 120 minutes. It's impossible to become involved in the movie. Fifteen minutes into the proceedings, I nearly screamed in frustration for things to stay still for a moment. I wanted to enjoy the story, but the style kept interfering.
Letter from Iwo Jima
Letters from Iwo Jima is a unique American-made war movie for at least two reasons: it depicts the battle from the perspective of the losers and it represents the United States as the "enemy." Coupled with Flags of Our Fathers, Letters from Iwo Jima provides director Clint Eastwood's complete statement about the 1945 Battle of Iwo Jima. Although Flags of Our Fathers deals as much with how a photograph from the battle was used as propaganda on the home front as it does with the actual combat, Letters from Iwo Jima remains entrenched upon the island from start to finish (except for a few character-building flashbacks). In terms of its structure, this is more what we expect from a war movie than what Flags of Our Fathers offers. The only character common to both films is the island's rough terrain.
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How best to encapsulate my feelings about MirrorMask? What about: visually active, but emotionally inert? A lot of descriptors are apt: unorthodox, stylistically inventive, a labor of love, and (perhaps most importantly) a failed experiment. The central evident flaw is that, although the film may look and feel unlike other movies, the limited pleasure derived from its appearance goes only so far. When the time comes for classical elements like story and character to take over, they are unequal to the task. MirrorMask is built on a foundation of stock plot elements. The narrative is simplistic and lacking in energy, and the characters are sketched instead of fully formed.
Over the Hedge
Over the Hedge, a feature-length adaptation of the popular comic strip, offers further proof that the Golden Age of Digital Animation has come and gone. This is arguably the most entertaining animated film since The Incredibles, but it's not much more than an enjoyable diversion. There are cute CGI animals, clever dialogue, a satirical look at suburban America, and a preachy moral, but it doesn't amount to much. Considering how the marketplace has changed, maybe it's unfair to compare Over the Hedge with the likes of Toy Story, Shrek, and Finding Nemo, but there's a world of difference. Those films engaged audiences of all ages on a variety of levels. This one falls in their shadow in terms of both ambition and achievement.
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"A few years ago, a friend sent me a book about the prosecution of animals in the Middle Ages... These trials read like modern courtroom dramas. Since the animals were given a full defense counsel and were prosecuted with the whole rigor of the law, it had all the kind of little tricks that lawyers play to get their clients off. What really intrigued me was reading up about [the] people - the renegade priests, the philosophers, the lawyers, people who actually had very modern ideas."
- Leslie Magahey, writer/director of The Advocate
It never fails to amaze me that something as essentially light and pointless as Disney's remake of The Parent Trap can clock in at over two hours in length. This is one of those movies that has difficulty sustaining any kind of comic or dramatic momentum for 90 minutes, so the final half-hour turns into a real endurance contest. Of course, the original The Parent Trap, a 1961 film that pushed all the same "cute" buttons, was saddled with virtually the same bloated running time, which offers a partial explanation as to why Nancy Meyers and Charles Shyer felt they had to confine audiences to their seats for so long.
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For Tom Cruise, 1983 was the year of his Ascension, although the Coronation would have to wait until Top Gun in 1986. Before 1983, Cruise was regarded as an up-and-coming actor, someone to watch. But with the double-barreled success of the teen romantic comedy Risky Business and the teen sports movie/drama All the Right Moves, Cruise had arrived. After Risky Business, Cruise and his Ray-Bans were everywhere: posters, magazine covers, publicity shots... A movie star had been born.
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Home Alone 3
It was a shrewd studio executive who decided that the ''Home Alone'' series didn't require the towheaded, hooded-eyed screen presence of Macaulay Culkin to stay alive and kicking. As ''Home Alone 3'' vigorously demonstrates, all the franchise really needs to keep going is a charismatic child (Alex D. Linz has replaced Mr. Culkin) with no great acting skills but loads of pseudo-innocent chubby-cheeked adorability.
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Robin Hood: Beyond Sherwood
12th Century England It is a deadly time of dark tyranny, black magic and the outlaw archer known as Robin Hood. But when the Sheriff of Nottingham unleashes a winged monster upon the nearby town...
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Christmas with the Kranks
After Luther (Tim Allen) and Nora Krank (Jamie Lee Curtis) see their daughter, Blair (Julie Gonzalo) depart for a Peace Corps assignment in Peru on the Sunday following Thanksgiving, empty nest syndrome sets in. Luther calculates the couple spent $6,132 during the previous year's holiday season and, not looking forward to celebrating Christmas without their daughter, he suggests they invest the money usually spent on decorations, gifts, and entertainment and treat themselves to a ten-day Caribbean cruise instead. Skeptical at first, Nora finally agrees.
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Scientist Alex Harris, doing research on artificial intelligence, is working on a special kind of computer. This computer grows more and more powerful and eventually rapes the scientists wife, Susan Harris.
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