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You know that scene in every action movie since 1974 when the guy jumps into the water after being blown off an edge by a massive, flaming ball of death? Yeah, that's The Expendables in a nut. If it isn't on fire, crumbling to pieces, being chased by a thousand guys in face paint and getting torn apart by a rapid-fire shotgun, it probably isn't in The Expendables.
This is the kind of film we used to spit-ball with friends in a kind of 'wouldn't it be cool if...?' scenario – all the biggest action stars coming together for one massive orgy of violence and bloodletting. Really, the concept is so tantalizing that we harboured a flickering flame of hope for this one; Sylvester Stallone called upon his action movie counterparts, roping in some of the biggest, toughest Ess-Oh-Bees out there for a movie that promised all the hallmarks of classic hard-action films we love to pieces (mostly things exploding and quippy one-liners).
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From Paris with Love
John Travolta wipes out most of the Asian and Arab population of France in From Paris with Love, a plotless, pointless shoot 'em up directed by Pierre Morel (Taken) from a story by Luc Besson. Travolta plays Charlie Wax, a CIA operative sent to Paris to take down drug dealers or anyone who works in a Chinese restaurant or designs dresses or looks at him sideways or might be a terrorist, in this non-sensical ultra-violent R-rated action film that exists only to please those into high body counts.
Besson takes credit for the story, but really there's not much of an actual plot in evidence. I'm guessing that whatever storyline Besson initially came up with, he was able to jot down on a single post-it note. The hows and whys of what's going down on screen aren't nearly as important as the spiffy ways dreamed up to kill off at least 30, 40, maybe even 50 or more - who's counting? - of what I'm assuming are supposed to be bad guys over the course of an hour and a half. Travolta even employs a bazooka at one point to take out a car loaded with a bomb heading straight toward an American diplomatic caravan.
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Guide to Recognizing Your Saints
A Guide to Recognizing Your Saints illustrates that it's still possible to do something interesting with a familiar premise. Writer/director Dito Montiel, who has based the film on his memoirs, tells the story of a man who escaped from his "old" neighborhood to find success elsewhere, and hasn't looked back since. Now, with his father on his deathbed, he is trying to bridge a twenty year gap. The movie is not without flaws - editing has left parts of the film feeling choppy, there are a few too many directorial "flourishes," and the modern day segments get short shrift - but the performances are heartfelt and the ways in which Montiel refuses to oversentimentalize the story work.
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During the summer of 2003, Miramax Films is courting controversy. First, with the release of The Magdalene Sisters, the distributor was accused of being anti-Catholic. Now, with the release of Buffalo Soldiers, the charge is one of being unpatriotic. It's easier to understand the former indictment than the latter one. The Magdalene Sisters is a good movie, but it's not hard to see why some Catholics would be offended by it. Buffalo Soldiers, however, is a dark satire in the same vein as M*A*S*H and Dr. Strangelove, and, just because it offers a negative portrayal of the U.S. military circa 1990, it's hardly fair or reasonable to label it as "anti-American."
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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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I Am Love
I Am Love falls into the select category of films that are easier to admire than like. Director Luca Guadagnino's arm's length approach to the story creates a buffer between the audience and the main character - something that works well during the first half but fails to create the emotional resonance to provide the second hour with its full power. For I Am Love to succeed on all levels, one needs to empathize with Tilda Swinton's Emma, but the stylistic choices made by Guadagnino keep the viewer in the position of a detached observer. As good as Swinton's performance is, and it's very good, it is difficult to connect with Emma. In many ways, I Am Love becomes an exercise in studying technique and, while that's something scholars and film students may appreciate, it's not the most fulfilling way to approach a production for the average movie-goer.
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City of Lost Children
In 1991, the creative team of Jean-Pierre Jeunet and Marc Caro introduced movie-goers to their nightmarish view of a post-apocalyptic world where troglodytes inhabited the underground and a butcher relied on apartment tenants to keep his meat cabinet full. Delicatessen, a bizarre black comedy, became something of a cult hit -- certainly not everyone's fare, but those who got it, loved it. Now, four years later, Jeunet and Caro are back, and, with their latest film, The City of Lost Children, it's apparent that they have neither moderated their approach nor mainstreamed their vision. The City of Lost Children is as visually striking and daringly offbeat as its predecessor.
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No Man's Land
Two wounded soldiers, a Bosniak (Čiki, portrayed by Branko Đurić) and a Bosnian Serb (Nino, portrayed by Rene Bitorajac) are caught between their lines in the no man's land, in a struggle for survival. The two soldiers confront each other in a trench, where they wait for dark. They trade insults and even find some common ground. Confounding the situation is another wounded Bosniak soldier (Cera, portrayed by Filip Šovagović) who wakes from unconsciousness. A land mine had been buried beneath him by the Bosnian Serbs; should he make any move, it would be fatal.
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If I Had Known I Was a Genius
Michael (Markus Redmond) is an African American boy with a genius I.Q. His family refuses to encourage him and tries to bring him down, and his mother (Whoopi Goldberg) nicknames him "Ugly". Michael enrolls in a high school drama class and finds encouragement from an eccentric teacher.
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The sexy, evil scientist Doctor Humboldt is attempting to resurrect an Ancient Egyptian king named Thotep in order to start the Fourth Reich. The only ones able to bring the mummy back to life are Professor Cleve and his daughter Kristen, whom Humbolt tries to seduce for the incantation. She fails and forces the girl to revive the creature. Now Kristen has to combat it and Humboldts henchmen in a hail of bullets, leather and skin.
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Their stories are different... but their profession is the same.
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This is a Romeo and Juliet type tale based in Detroit, Michigan. Two young men, Zack, a white teen accused of acting black and Dee, an African American teen, defy racial lines and form a strong friendship. When Zack begins dating Dees cousin Nikki, his white friends presume hes seeing her because of sexual stereotypes about black women, while her black friends cant believe her interest in him. Additional conflict is added when Nut, a local black gang-banger pursues Nikki for himself and undisguised but contained racial tensions in their respective neighborhoods and the high school they all attend erupt in violence.
Fritz Brown is an ex-LAPD, recovering alcoholic who now splits his time repossessing cars for a used car lot and staffing his one-man private detective agency. When a filthy caddie named Freddy Fat Dog Baker wanders into Fritzs office one day, flashing a wad of cash, Fritz is hired to follow Fat Dogs kid sister Jane, who is holed up with a Beverly Hills sugar daddy named Sol Kupferman. Kupferman is a 70 year-old bag man for the mob, and Fat Dog claims that Solly K is up to something evil that may harm Jane. The trail leads Fritz to an encounter with his dark past in the person of Haywood Cathcart, current head of LAPD internal affairs and the person who kicked Fritz off the police force. But what is Cathcart doing in business with a mobster? And why is Jane shacked up with a man old enough to be her grandfather? Fritz starts asking some questions, and the answers are all bad news. Fritz finds himself back on Haywood Cathcarts short list, and as the bodies start to pile up around him, Fritz stands to lose more than his job this time around as some old debts get repaid.
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A Far Off Place
The witty Nonni and the stuck-up city-boy Harry are the only ones to survive a massacre of a gang of poachers among the gamekeepers family on his lonesome farm in the savanna. Now the ruthless murderers are after them as the only witnesses. Without a means of transportation, the only way to escape is to walk through 2000 kilometers of Kalahari desert with the help of the African bushman Xhabbo. On the months-long journey ahead they not only become good friends against their differences, but also realize that every one of them has strength and skills that are required to survive.
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Alain Lefevre is a French boxer in 1920s Marseilles, France. Alain is forced by local crime boss Lucien Galgani to take a dive in a fight. It turns out that Galganis girlfriend Katrina is also Alains ex-fianc
Although a one-time MVP for the New York Yankees, Jack Elliott is now on the down side of his baseball career. His batting average is low and one of his few claims to fame is that during the previous year, he led the team in 9th inning doubles in the month of August. With an up and coming slugger ready to replace him, he learns that hes been traded to the Chunichi Dragons of the Japanese Central baseball league. Elliott is set in his ways and quite inflexible, not only in accepting Japanese culture in general, but also with the way the baseball team is managed. When he meets his very pretty PR agent, Aya Takahashi, he begins to gain a greater appreciation that he should accept his current situation. When he realizes her other connection to the team, his attitudes begin to change at an even greater pace
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