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The Boondock Saints II: All Saints Day
Writer/director Troy Duffy revisits the ultra-violent world of the MacManus brothers in The Boondock Saints II: All Saints Day, a longshot sequel that many fans of the 1999 original never thought they'd actually get. The sequel opens with the execution of a Boston priest in a manner that makes it look like the handiwork of the long-missing vigilante siblings Murphy (Norman Reedus) and Connor (Sean Patrick Flanery) MacManus.
Although the brothers -- who have been hidden away in their native Ireland (a ridiculously outdated and cliched depiction of the country) for the last decade with their hitman dad, Il Duce (Billy Connolly) -- know that the murder is meant to draw them out of hiding, they are all too eager to oblige the killer and mete out some vengeful justice in return. During the trip back to Boston, they encounter Mexican-American wannabe thug Romeo (Clifton Collins, Jr.), whom they reluctantly enlist as their sidekick (he serves much the same function as "Funny Man" Rocco did in the first film).
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The Last House on the Left
Horror icon Wes Craven serves as a producer on this remake of his directing debut, The Last House on the Left. Updated and toned down from his disturbing 1972 cult classic, Last House follows the Collingwood family -- dad John (Tony Goldwyn), mom Emma (Monica Potter) and teenage daughter Mari (Sara Paxton) -- who run afoul of a murderous family of outlaws led by the functioning sociopath and escaped fugitive Krug (Garret Dillahunt).
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Most parents, on at least a subconscious level, would be happy if their children, when grown, followed in their footsteps. Such a career choice by one's offspring, is, after all, a kind of validation of one's own decisions. So it must be with some degree of pride that Tom Hanks, Rita Wilson, Sissy Spacek, and Lawrence Kasdan view Orange County, because all of them have a son or daughter involved in the production. Sadly, however, while the movie may represent a showcase of second-generation talent, that's about all it really works as. In fact, were it not for the high profile names of "Hanks" and "Kasdan", this would be a perfect candidate for a direct-to-video release.
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What Planet Are You From?
Ever had the feeling that you're not getting the whole story? That's what it's like to watch What Planet Are You From?, which suffers from the kind of editing job that indicates a cluttered cutting room floor. The product that survived appears to be held together with glue and staples - significant chunks of the plot have been excised, characters come and go with little rhyme or reason, and subplots vanish into thin air. Making sense of this movie is a feat that requires a nimble mind and a fertile imagination.
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Sound of Thunder
A Sound of Thunder takes a thought-provoking science fiction short story by Ray Bradbury and turns it into a noisy, messy Hollywood action/adventure extravaganza. This approach isn't unique or inherently bad (it worked, for example, with Blade Runner and I, Robot), but its success relies heavily upon execution and how the screenwriters choose to adapt the source material. The effectiveness of A Sound of Thunder is spotty. It begins and ends strongly, but the narrative gives way to video game plotting in the middle. This protracted segment serves no purpose beyond giving the characters something to do for 30 minutes so that the movie doesn't clock in at an unacceptably short 70 minutes.
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In the Valley of Elah
The last scene of In the Valley of Elah may be the most ridiculously ham-fisted and over-the-top moment in all of 2007’s supposed prestige cinema. This image is so blatant and cheesy that it makes one wonder whether director Paul Haggis’ success with Crash was some kind of fluke. In fact, the film as a whole raises that question. Crash was not the most subtle film, but its clever structure and finely tuned character moments camouflaged many of its weaknesses. The same cannot be said of In the Valley of Elah, which takes two hours to make an oh-so-obvious point: war dehumanizes human beings. Is there anyone alive over the age of 12 who doesn’t know that?
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It seems that once every dozen-or-so years, Sean Connery has the urge to go back into Bondage. After turning in his tuxedo and Aston Martin following 1971's Diamonds Are Forever, Connery ventured into the acting market as a free agent. His vow to "never again" play 007 held for a little over a decade. Lured back by an enormous sum of money and the offer of limited creative control, Connery returned to Her Majesty's Secret Service in 1983, with the "unofficial" Bond entry, Never Say Never Again. Now, in 1996's The Rock, the veteran actor has once more come home to the action genre. Granted, his character is called John Mason, not James Bond, but Connery plays him exactly as he might portray a sixty- something version of the world-renowned British spy.
In 1868, within the Ruby Mountains, Gideon (Pierce Brosnan) roasts an animal over an open fire. Suddenly, gunshots ring out with one striking his left arm. He grabs what he can and races down the mountain. His attackers emerge from their cover to inspect his campsite. Colonel Morsman Carver (Liam Neeson), a former Confederate officer, is accompanied by Pope (Robert Baker), Hayes (Michael Wincott), Parsons (Ed Lauter) and the Kid (John Robinson); who are all engaged in a bounty operation to apprehend him.
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The film begins with a flashback to an inebriated Police Detective Jerry Black, mumbling incoherently at an unknown location. The scene then switches to events that precede the opening scene. Jerry is ice fishing, then driving to work. After work, he goes to a restaurant, where the Department has thrown him a retirement party. Police Captain Eric Pollack (Sam Shepard) gives Jerry a gift, a trip to go fishing in Mexico. The party is interrupted by the discovery of a murdered young girl named Ginny. Jerry decides to go with another Detective, Stan Krolak (Aaron Eckhart) to the scene of the crime.
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Chloe Lawrence (Mary-Kate Olsen) is a very driven teenager and leader of her high school's Model United Nations team. After performing particularly well in a competition, the team is selected to attend the international Model UN competition in London, United Kingdom. One of the team members, Randall, is unable to attend. Chloe's twin sister, Riley (Ashley Olsen), steps in to fill the gap – to get closer to Chloe's attractive teammate, Brian, more than anything else. When the group arrives in London, they discover that someone is already representing their usual country: China. Undaunted, they improvise and end up representing the UK. Plenty of sight-seeing and shopping ensues, while Chloe takes a fancy to James Browning, the son of an English noble, Lord Browning, who is pressuring his son to achieve more. As the competition progresses, Chloe's over-competitive nature stalls her budding romance, Riley tries to get closer to Brian, and the team earns both admiration and anger for their unconventional methods. Nevertheless, tribulations are weathered and lessons learned about sportsmanship, overlooked friends, and learning to enjoy one's youth.
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Tooth & Nail
Tooth & Nail is a post-apocalyptic movie where mankind has depleted all fossil fuel reserves and civilization has collapsed. A group of survivors called Foragers take cover in an abandoned hospital where the group attempt to re-build society. After saving a young girl from being killed and eaten by a group of vicious cannibals called Rovers, the Foragers find themselves on the run from the cannibals, who stalk the survivors and brutally kill them off one-by-one as the Foragers begin to fight back, causing a chaotic battle of blood and mayhem.
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In 1995, Samantha Darko (Chase) follows her best friend Corey (Evigan) on a road trip from Virginia to California, in an attempt to become professional dancers. Their dreams are cut short when their car breaks down in a tiny Utah town. They are saved by the town bad boy, Randy (Westwick), who takes them to the local motel where they meet the conspiracy-loving owner. He tells them of Billy Moorcroft, a boy that went missing.
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The story centers on two sisters (Clare Grant and Jillian Murray) who visit the Skull City Mine roadside attraction in the desert. Their plight turns into a fight for survival against menaces both human and supernatural.
On their last weekend together, Megan and Abby Graves become lost in a remote part of the Arizona desert where they are lured to Skull City, an abandoned mine town. But Skull City is anything but abandoned—and there’s no way out.
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Iron Eagle II
Chappy Sinclair is called to gather together a mixed SovietU.S. strike force that will perform a surgical strike on a massively defended nuclear missile site in the Middle East. Chappy finds that getting the Soviet and U.S. Pilots to cooperate is only the most minor of his problems as he discovers someone in the Pentagon is actively sabotaging his mission. As they begin their assault, Chappy finds that a nuclear strike has been ordered should they fail, which will catch his forces on the ground next to ground zero.
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Jeffery, a young gay man in New York, decides that sex is too much and decided to become celibate. He immediately meets the man of his dreams and must decide whether or not love is worth the danger of a boyfriend dying.
Young Frank and his pals get an idea for the ultimate in excitement. They decide to pool their savings, bicycle to the nearby Big City, and hire some woman of the streets to strip for them. Things do not work out that simply, but they do meet V, a Hooker With A Heart Of Gold, who ends up giving them a ride home. Soon she is living in Franks treehouse, unbeknownst to Franks widowed father Tom, who thinks she is one of Franks teachers. Soon, however, the evil Waltzer comes looking for V.
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