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Normally, comparing a film to a television program's intended as a slight, a knock against a film that didn't have the sweep and scope you'd expect to witness on the big screen, but when I compare director Matteo Garrone's Gomorra to The Wire, I hope you'll recognize I mean it as a compliment. Set in the provinces around Naples, where the crime organization known as the Camorra is not parallel to the everyday workings of society but instead is the everyday workings of society, Gomorra's a sweeping, stirring film that has the shoot-and-loot tension of the best crime cinema but also has the scope and serious intent of great drama.
Kung Fu Panda
Perhaps the best thing about Kung Fu Panda is that it's an action comedy that doesn't skimp on the action. Dreamworks Animation's latest effort may stick out a little on the Red Carpet at Cannes -- where it's screening out of competition -- but it's certainly a well-made kid's film that earns high points for how directors John Stevenson and Mark Osborne clearly crafted and contemplated its look and feel with ambition and style. Anyone can make a computer-animated cartoon with fuzzy animals doing kung fu; you have to be at least a little inspired to make a computer-animated cartoon featuring fuzzy animals doing kung fu in widescreen Cinemascope. ...
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The penguin fetish started in 2005 by the unexpected popularity of March of the Penguins comes to a screeching halt with the latest attempt at cashing in on the worn out American love for the wobbly, tuxedo wearing fowls from down south. Surf’s Up is a blizzard of filmmaking foul ups, a perfect storm of blatant pandering and studio screenwriting by committee. It plays like it was written by a third-rate marketing department as a series of happy meal advertisements. It’s barely a movie at all, much less a good one.
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The Loss of a Teardrop Diamond
In “The Loss of a Teardrop Diamond,” Bryce Dallas Howard ignites like a firecracker, playing an impulsive, emotionally unstable heiress recklessly defying the hidebound conventions of 1920s Memphis high society. This Southern period piece, the first feature directed by Jodie Markell, exhumes an obscure Tennessee Williams screenplay, written in 1957, in which Williams returned to realism following the crushing reception of his symbol-weighted stage drama “Orpheus Descending.”
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It has become a time-honored tradition that stars of Saturday Night Live, upon graduating from the no-longer-funny late night show, elect to spread their wings and strive for cinematic greatness. With a few notable exceptions, most have crashed and burned in forgettable fashion to never be heard from again or to become the punch lines of jokes that are generally as funny as the ones they told during their SNL tenure. Baby Mama is the first SNL-inspired movie to star two female members of the ensemble: Tina Fey, who has been doing nicely for herself since leaving, and her gal-pal Amy Poehler, who's still on. While Baby Mama manages to avoid the pit of awfulness into which many of its predecessors have sunk, it achieves nothing more impressive than mediocrity. It's genial but stale, and neither side-splittingly hilarious nor painfully unfunny. In short, it's like a great many cinematic comedies that recycle comfortable plots and don't try anything daring.
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Caramel could easily be dubbed a Lebanese version of Salon. The movie, the directorial debut of writer/director/actress Nadine Labaki, follows the lives and loves of five women whose paths criss-cross in Beirut. As is often the case with ensemble efforts like this one, some of the stories are more interesting than others and this has the unwelcome side-effect of making proceedings stumble whenever one of the less compelling women takes center stage. Unlike some foreign films, Caramel is easily accessible for viewers of all nations and cultures, although the subtitles will degrade its box office potential in the United States.
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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End of Violence
Wim Wenders' The End of Violence offers the same type of experience one could expect from sitting through a David Lynch film with a reasonably-coherent narrative (unlike, for example, Lost Highway). Arguably Wenders' most disjointed film to date, The End of Violence is a neo-noir thriller that's really more about social decay and human isolation than it is about government conspiracies, mysterious murders, and missing persons. Unfortunately, it's also too long and too slow, and, by the time the end credits have started rolling, it has lost most of its energy.
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Midnight in the Garden of Good and Evil
One thing is certain about Clint Eastwood: he doesn't play it safe. Two years ago, he surprised just about everyone (and gave his fans a collective apoplexy) by directing and starring in an ultra-sensitive tearjerker called The Bridges of Madison County. Now, following a romp through more familiar territory in Absolute Power, Eastwood the director is back with this slow, moody adaptation of John Berendt's novel, Midnight in the Garden of Good and Evil. It's a compelling but meandering tale of lust, murder, sex, voodoo, and betrayal. Despite the presence of so many titillating elements, the film's nearly somnambulant pace makes it easy for a viewer to lose his or her concentration.
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Barney: I Can Do It
Are you ready for big-kid fun? Join BJ, Claire and Jade as Barney teaches them that even if you’re not big enough to do all the things your friends are doing, there are new friends to meet and new games to play right now. Discover that big-sized fun is waiting for you every morning, and every day you grow is loaded with Tee-riffic adventures!
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After his girlfriend leaves him, lonely horror movie buff Adam Waltz moves to Los Angeles to be closer to her. There he lands a walk-on role in studio chief Connor Pritchett's latest cinematic schlockfest, Pirate Wench. One night, a killer starts stalking the set, and before long bodies are piling up. On the downside, it wreaks havoc with the film's budget. On the upside, Adam's part keeps getting bigger and bigger. With ace police detectives Shields and LaRue on the case, everyone hopes the mystery will be solved quickly. But when Adam begins seeing the ghost of an actress who died fifty years ago, there may be more to this serial killing spree than a psycho with a taste for torture.
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Based on a true story. He called himself the Angel of Death. But when the police discovered that he was involved with over 40 deaths, his name soon became Killer Nurse. In the beginning it was his story against theirs. Soon he gave up his version of the events and admitted to killing 43 patients in his care at the St. Marys Hospital. Charles Cullen also became one of the most notorious serial killers in the history of the US.
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The Man Who Knew Too Little
An American gets a ticket for an audience participation game in London, then gets involved in a case of mistaken identity. As an international plot unravels around him, he thinks its all part of the act.
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Bill, a wealthy businessman, confronts his junkie daughters drug-dealing boyfriend in the ensuing argument, Bill kills him. Panic-stricken, he wanders the streets and eventually stops at a bar. There he runs into a drunken factory worker named Joe, who hates hippies, blacks, and anyone who is different, and would like to kill one himself. The two start talking, and Bill reveals his secret to Joe. Complications ensue.
Amir is a heartbreaker...literally. As a relationship termination specialist, he provides dumping services for disgruntled daters and spends his days delivering the bad news to unsuspecting lovers across Los Angeles. Though Amir claims he is just the messenger, the job makes him cynical and, as a result, the last bachelor in his group of friends. This becomes clear when his recently-engaged best friends tells him he can no longer be his Best Man because of bad relationship karma. When Amir returns to his familys home for Thanksgiving, he is reunited with his long-lost cousin, Zara, who decides to hitch a ride back to LA with him. As a joke, the two cousins pretend to be a couple in front of Amirs friends and their charade comes dangerously close to going too far.
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The pathetically shy LV lives the life of a recluse listening to her late fathers old records in her room and in the process driving her abusive, loud-mouthed mother, Mari Hoff, to distraction. At night, however, when her fathers ghost visits, LV sings the songs of the great divas such as Judy Garland, Marilyn Monroe and Shirley Bassey. One evening LV is overheard by one of her mothers loathsome boyfriends, the disastrous dead-end talent scout Ray Say, who recognizes her innate talent and realizes this is his last big chance for the glittering prizes. Gambling everything Ray Say forces LV to appear at a local run-down, seedy night club run by Mr. Boo. As preparations for the big event proceed apace LV meets the equally shy Billy, a pigeon-racing telephone engineer and they form a tentative, gentle friendship. The big night finally arrives and everything is in readiness the band, the club and even a big agent from London, but what about LV?
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