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More of a twisted drama with horrific elements (featuring the torture and kidnapping of the flawed protagonist in the film’s final act), Godspeed feels almost like it could be as at home on the stage as it is in the cinema. Investigating the failures of modern religion and the essence of the soul, director Robert Saitzyk and co-scripter Cory Knauf’s (who also provides a razor thin, clarifying performance)piece is full of philosophical character confrontations and nicely scripted contemplation before violence and anger consume its landscape in its penultimate moments.
The Horribly Slow Murderer with the Extremely Inefficient
A while back a friend turned me on to a short film called Criticized. The 18-minute film tells the story of a film critic who, after writing a horribly scathing feature review, is abducted by the filmmaker in question and tortured. Having written a few terse reviews in my day, I enjoyed the film immensely despite quivering at the notion. I can only assume that Writer/Director Richard Gale made the film in response to the treatment he received on his first two features—The Proposal and Pressure. And yet, despite the intense violence on display in the production, I couldn’t help but feel that Criticized was a brilliant tongue and cheek viewing experience that offered more than a little catharsis for the man behind the lens. The short went on to win several awards including best film at Montreal’s esteemed Fantasia Film Festival and the New York City Horror Film Festival.
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Sometimes after watching a fantastic film you get that sudden rush of enjoyment and sheer excitement that the horror genre is head in the right way again. After watching Babysitter Wanted I had that feeling and I knew that the horror genre is still capable of pumping out fantastic films on a budget. This is one of those films that I am very proud to be able to review and let everyone know that this is a film that you have to keep your eye on. It is without a doubt one of the best films I have seen in the past ten years. So may this review serve as an open letter to all the horror fans, distributors and fellow horror critics hunt this movie down and watch it. You won't regret it.
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High Plains Invader
For a couple years now, RHI Entertainment and Genius Entertainment have been releasing creature features that aired on the SyFy Channel (usually during their Saturday offerings of cheap science fiction and horror movies) on home video under the banner Maneater Series. The Maneater Series has become rather reliable in offering diverting, if completely forgettable, cheap creature films. There must be some kind of fan base for this series, as the line has flourished over this time. Its official website is located here.
In the past two months, I've been sent the previous installments of the Maneater Series to review: Carny and Hellhounds. It appeared at the time those two films were released that the website had not been updated for several months (and it still hasn't been as I write this). Some changes appeared to be afoot on the business level as Vivendi Entertainment's logo - and not Genius Entertainment - was now featured on the cover art. The same holds true for this month's Maneater release: High Plains Invaders. If there are any Maneater Series fans out there, it's difficult to say what the future of this long-running home video series will be, as no new titles are in the immediate pipeline. However, I can say that Vivendi Entertainment at least intends to release a triple feature collection under the Maneater logo in May, though this merely collects the three previously available aquatic flicks Croc, Sea Beast, and Shark Swarm.
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"American Dreamz" is a comedy, not a satire. We have that on the authority of its writer-director, Paul Weitz, who told Variety: "Satire is what closes on Saturday night. So it's a comedy." Actually, it's a satire. Its comedy is only fairly funny, but its satire is mean, tending toward vicious. The movie is more slapdash than smooth, more impulsive than calculating, and it takes cheap shots. I responded to its savage, sloppy zeal
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Fast Food Nation
The idea underlying Fast Food Nation is intriguing: take the premise of the best-selling non-fiction book by Eric Schlosser and convert it into the backstory of a fictional film. Where director Richard Linklater runs into trouble is in the execution stage. The narrative he has fashioned is not only unfocused and rambling, but presents thinly developed characters that have little life or screen presence. The only interesting elements of Fast Food Nation are when it offers insight into the fast food process from slaughter house to Styrofoam container. This argues that the movie might have worked better had the ensemble cast been dumped and the project re-imagined as a documentary.
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“Black Bread” starts of with a scene of such stunning violence—without giving too much away, it involves a sledgehammer and a horse, among a slew of other very nasty things—that it casts a shadow over the rest of the movie. Set in post-Spanish Civil War Catalonia, the film creates an atmosphere where the potential for death and hostility to erupt exists around every corner, in every situation. From the outset you learn that no place is safe; not the family hearth, government offices, and certainly not the multitude of caves, woods, and fields where the 11-year-old Andreu (Francesc Colomer) grows up.
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While watching Liar Liar, it occurred to me that the chief problem with this film is that it has a script. If Jim Carrey had been unleashed without such silly, incidental constraints as plot and dialogue, who knows where things might have gone? As it is, however, Carrey is forced to confine his antics to the needs of Liar Liar's unimaginative screenplay, and the results are mixed. There are times when Carrey is excruciatingly funny, but, on those occasions when he's expected to do anything remotely approaching "real" acting, his limitations become abundantly clear.
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"It's my considered opinion that in the fullness of time, history will record the greatness of [Michael] Collins and it will be recorded at my expense."
-- Eamon De Valera, President of the Republic of Ireland, 1966
Of the more than five dozen films to be released this Fall, none is likely to generate more controversy than Neil Jordan's Michael Collins, a biopic of the man who co-founded the IRA and signed the 1921 treaty that partitioned Ireland and provoked the 1922 civil war. Even before its release, the film has fanned passions in the United Kingdom, where it has been tagged with such diverse labels as "ammunition for IRA recruiting sergeants and fund-raisers" (Ruth Dudley Edwards) and "as important a film as ever to be made in Ireland about Ireland" (Art Cosgrove). Opponents are as vocal in their condemnation of the movie as supporters are in their defense of it. Not unexpectedly, writer/director Neil Jordan has been obligated to affirm the picture's integrity, stating at the Toronto Film Festival that "Most of the people who accuse me of inflaming the peace process have no interest in the peace process whatsoever."
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It's a litter of good, clean canine fun as Air Bud plays proud papa to five adorable puppies with a most unusual secret in this installment of the long-running film series starring Michael Clark Duncan, Richard Karn, and Don Knotts.
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Vianne Rocher (Juliette Binoche) like her ancestors, drifts across France. In the winter of 1959, she travels to a tranquil French village, where she and her daughter, Anouk (Victoire Thivisol), open a small chocolaterie. The store imbues both wonder and angst within the classical villagers as it opens during the forty days of Lent.
Soon, Vianne's allure and confections enliven a married couple's sex life, encourage an elderly man's secret love, bring rapport with a willful diabetic, and comfort an awkward woman who longs to leave her drunk and abusive husband. Nevertheless, the devout village mayor, Comte Paul de Reynaud (Alfred Molina), sees Vianne as an immoral provocateur and quietly contests against her. The battle peaks when a band of river gypsies camp on the village outskirts and Vianne finds a strong, mutual sexual attraction with the Manush Romani (Gypsy) Roux (Johnny Depp).
Isabel and Clara are growing up in a time of terror. It is 1492, and Spain has decreed that all Jews must either convert to Catholicism, go into exile or face trial and execution. Although forcibly baptized, the sisters are chased through Christendom until they arrive in Venice. It is in this great maritime empire, where opulence rhymes with tolerance, that Isabel organizes secret passages for refugees fleeing the Inquisition while Clara falls in love with a Venetian noble, Paolo Zane. Isabel intends for her family to go to Istanbul, the only place where Jews can live freely, but Clara is reluctant to leave. She challenges Isabels authority and is prepared to break her family ties and sacrifice her faith for love. Caught in this battle of wills is Claras daughter, Victoria, who finds she is about to be married into the same faith that murdered her father.
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A small time diamond merchant jumps at the chance to supervise the purchase and cutting of a large first class diamond. But when the diamond is stolen from him, he is blackmailed into pulling off a major heist at the Diamond Exchange, located at 11 Harrowhouse.
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Jeff Dunham: Spark of Insanity
Combining his amazing talent and his unorthodox sense of humor, Jeff Dunham returns, yet again, with an hilarious ventriloquist performance...
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Mr. and Mrs. Loving
A moving and uplifting drama about the effects of interracial marriage in the 1960s. Friends since childhood, and loved by both families, this couple are exiled after their wedding and have to wage a courageous battle to find their place in America as a loving family.
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What happens when 2 losers are given the power to make anything they hate disappear? meet david andrew roommates friends - nothing would make them happier than if the world of nasty neighbors callous bosses successful ex-girlfriends would just go away. This is their tale when their wish comes true.