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There is nothing creepier than what lurk outside what you may think are the safe metal walls that entomb you inside the trains of a subway. What may lurk outside is the topic for Peter A. Dowling’s Action/Thriller Stag Night, in which four bachelor party goers find out why staying in the safe place of the subway train is the best thing to do versus exploring the underground system of rails. A new world is explored, and extreme consequences are bequeathed upon the unfortunate souls just trying to have a good time that night.
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I sat down to watch “Camp Hell” thinking maybe I was in for an 80’s throwback to the days of the slasher. Or maybe even a “Friday the 13th” rip-off of some sort would have be cool. As soon as I pushed play the title screen wasn’t a blood splashed “Camp Hell” but it actually read “Camp Hope”. To say I was dumbfounded would be an understatement since I really had no idea what the hell I was watching. I couldn’t figure out what the story was, if it was propaganda, or where the true horror was. I made it through the film and I have to say it was tough to get through.
Tommy (Will Denton) is on his way to camp. He studies the bible and lives very close to God’s words along with his parents Michael and Patricia (Andrew McCarthy and Dana Delany). God is their main focus and faith is all important. At camp, the kids are separated, boys and girls, any contact is considered a sin. No impure thoughts and no youthful influence. Father McAllister (Bruce Davison) tries to drive home the idea that sin leads to the devil and demons entering our lives. When Tommy gives in to those urges with Melissa (Valentina de Angelis), evil enters the camp and everyone’s faith is tested.
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If sword'n'sandal movies from the toga-wearing classical world generally make you giggle or groan – or even if they don't – then this could be the film for you. Alejandro Amenábar has made an ambitious, cerebral and complex movie set in fourth-century Alexandria, the era in which the famous library was destroyed.
Boynton Beach Club
When Boynton Beach Club began life, it was called The Boynton Beach Bereavement Club. Director Susan Seidelman, considering the somber nature of the original appellation, shortened the title with an eye toward marketing. Even with the new name, however, this will be a tough sell. It's a romantic comedy involving sixty-somethings - not exactly the kind of "hot" subject distributors are looking for. This isn't a challenging film - it goes down smoothly with only occasional lumps. Character development is perfunctory, the drama is light, and the humor is on par with that of a sit-com. The Golden Girls on the Love Boat comes to mind.
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Red Eye belongs to the genre in which a director attempts to sustain a heightened level of suspense for long enough that the audience will not notice how incredibly stupid the screenplay is. Alfred Hitchcock was a master at this - although some of the scripts he worked with were masterpieces, one could argue that his true skill as a filmmaker was evident with those that weren't. More recently, Phone Booth and Cellular achieved success by doing as much as possible with a thin and implausible premise. Wes Craven's Red Eye is more of a mixed bag. There are stretches during the course of this 85-minute long motion picture when the director elevates the tension to an acceptable plateau, but there are also occasions when too much of the narrative seeps through and we see the seams in the storytelling.
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Although The Eclipse is technically a horror film, dealing as it does with issues of the supernatural, it has the heart of a romance and the tone of a drama. It's slow, thoughtful, and melancholy - at times seeming to forget that a ghost story is supposed to be at least marginally scary. The acting is of the highest caliber, but the characters and their circumstances are underwritten. When the end arrives with its perfunctory stab at closure, there is satisfaction with neither the ghost story nor the love story. Both seem truncated, as if they are part of a larger that is never realized.
Rarely has the question "What the hell?" been more appropriate. An uneven amalgamation of the brilliant and the preposterous, Constantine left me by turns intrigued, confused, and wary. The recipe calls for some ingredients that are compelling, others that are audacious, and others that are downright maddening. With a bold, dynamic visual style that fuses film noir elements with traditional horror motifs, Constantine can be considered many things, but dull is not amongst them. This is not a timid film, yet it's not an entirely successful one, either.
If there are any 24 fans who have wondered what the TV series might be like if Liam Neeson replaced Kiefer Sutherland, Taken provides an opportunity to have that question answered. Neeson's Bryan Mills uses nearly all the Jack Bauer tactics, including torture, bone-crunching, and bloodletting. He gets involved in car chases, shootouts, and brings a gun to a knife fight. Like the Energizer Bunny, he takes a licking but keeps on ticking. When it comes to action, Taken gets the job done. The film is never boring. It is, however, completely preposterous.
Lord of the Rings, The: The Fellowship of the Ring
In the pantheon of fantasy writers, no diety is treated with greater reverence than J.R.R. Tolkien, who is regarded by most readers as the Father of Modern Fantasy. During the past three decades, the fantasy area in bookstores has expanded from a minor subsection of science fiction to a major category in its own right. A couple dozen titles have been replaced by hundreds. Fantasy has gone from being a cult genre to entering the mainstream. This would not have happened without the popularity and influence of Tolkien's The Hobbit and The Lord of the Rings. Nearly every published fantasy author acknowledges having read and been inspired by Tolkien's canon, and, while The Lord of the Rings may not be the longest or most complex fantasy series to date, it remains the standard against which all similar works are measured. It is the epic fantasy series.
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The Ghost and the Darkness
In 1898, Sir Robert Beaumont (Tom Wilkinson), the primary financier of a railroad project in Tsavo, Kenya, is furious because the project is running behind schedule. He seeks out the expertise of John Henry Patterson (Val Kilmer), a military engineer, to get the project back on track. Patterson travels by train to Tsavo, where he meets supervisors Angus Starling (Brian McCardie) and Samuel (John Kani), a native African (and the film's narrator), and the doctor, David Hawthorne (Bernard Hill). Hawthorne tells Patterson of a recent lion attack. That night, Patterson kills an approaching lion with one shot, earning the respect of the workmen. The project gets back on schedule. However, not long afterwards Mahina (Henry Cele), the construction foreman, is dragged from his tent in the middle of the night. His half-eaten body is found the next morning. Patterson then attempts a second night-time lion hunt, but the next morning another worker is found dead at the opposite end of the camp from Patterson's position.
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There is little doubt that, over the last two weeks, Warner Brothers has established some kind of low water mark for quality in motion picture releases. Never can I recall one distributor releasing two unwatchable movies on back-to-back weekends. However, with The Avengers and Wrongfully Accused, Warner Brothers has achieved that dubious distinction. Wrongfully Accused is a mind- numbingly awful motion picture that has a better chance of making a viewer physically ill than of provoking a genuine laugh.
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On Easter Island, a young rabbit named E.B. (Russell Brand) is intended to succeed his father Mr Bunny (Hugh Laurie) as the Easter Bunny. Intimidated by the calling's demands, E.B. runs away to Hollywood to pursue his dream of becoming a drummer. Mr Bunny sends his three ninja royal guards, the Pink Berets (Janet Healy), to find his son. Meanwhile, Easter Chick Carlos (Hank Azaria) and his music-obsessed assistant, Phil (also Hank Azaria), plot a coup d'état against Mr Bunny to take over the Easter organization.
Jim Davis (Christian Bale) is an ex-Army Ranger who suffers from Post-traumatic Stress Disorder. Jim has a Mexican girlfriend, Marta (Tammy Trull), whom he is determined to marry, and bring into the United States to start a life together. With this in mind, Jim returns to Los Angeles.
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Lie with Me
Leila is a sexually voracious young woman who connects with men through brief physical encounters. One night at a crowded house party, Leila meets David and its lust at first sight. Later, as she has casual sex with a stranger just behind the house, David and his girlfriend mirror her actions in their car. Leila and Davids eyes lock as they watch each other having sex with others, a courtship ritual that initiates their own sexual affair. Seduction is easy and very satisfying. Leila and David get to know each other -- which means being intimate -- in bed, at the park, on the roof, everywhere. For them, and for other members of their generation, sex is a form of communication. But Leila starts to realize that her attachment to David is different from anything shes experienced before, and David is just as serious about her. For the first time, they experience needs and desires that go beyond the physical. It is an emotional connection they crave. Afraid of the feelings they have unleashed in each other, they retreat to the safety of their former lives. Real life, and the messiness of emotional attachments, have punctured their sexual and romantic bubble and threaten to keep the lovers apart. Davids father dies after a long illness and he turns to his ex-girlfriend for support. Leila, meanwhile, is distracted by her parents looming divorce. Leila and David are trapped between two worlds. Anonymous sex, or sex without context, is losing its appeal. But a conventional approach to commitment - marriage and the seemingly inevitable divorce that follows, as evidenced by Leilas parents -- is not the answer. They set out to find a way to build lust and love, spontaneity and substance, into a new life together.
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Angie is having no luck auditioning for movies. She thinks about going back home, but her roommate Claudia convinces her to try working at the gentlemans club with her in order to gain more life experience. Angie hopes to be able to turn the experience toward more effective acting but is having difficulty overcoming her inhibitions. She meets a burned out movie director at the club who helps her with her dilemma.
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Long ago in the Iron Age a shadow loomed over a lonely village. For generations the village youths are stolen from their families and delivered as sacrifice to a mythical beast - the Minotaur, that dwells beneath a great palace. Theo, haunted by the loss of his love in an earlier sacrifice is convinced that the beast isnt real and that his girl still lives as a slave within the palace. His father Cyrnan, the village leader, tries to reason with Theo not to go but Theo is driven by blind rage. He devises a plan and is taken with the other youths who are dragged screaming from their families.