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A Serious Man
Joel and Ethan Coen (No Country for Old Men, Fargo) are no strangers to bouts of self examination through filmmaking; the duo are rarely this transparent about their insecurities and interests, however. Their latest film, 'A Serious Man', is a thought-provoking black comedy that examines Judaism and its many traditions and beliefs through the foibles of everyman Larry Gopnik.
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Michael Caine follows in Charles Bronson’s footsteps as a vigilante pensioner in Harry Brown, a morally dubious thriller that is uncomfortably torn between social realism and lurid sensationalism. The feature debut of director Daniel Barber is sure to gain media attention for its grim portrait of a lawless Britain, but the graphic violence and often grotesque approach to the subject matter will prove off-putting to many viewers.
Caine retains a loyal following in the UK and positive reviews for his performance should ensure a decent theatrical life for the title when it opens domestically in November. Internationally, it could face a rougher ride.
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Street Fighter: The Legend of Chun-Li
Street Fighter: The Legend of Chun-Li brings the Capcom videogame classic back to the silver screen after a 15 year absence. The title character (played by Smallville's Kristin Kreuk) is a pianist who hails from a wealthy Bangkok family. As a child, she witnesses the abduction of her well-connected, businessman father by the power-hungry criminal M. Bison (Neal McDonough) and his mammoth enforcer Balrog (Michael Clarke Duncan).
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What Goes Up
There’s some nice filmmaking tucked inside “What Goes Up,” a muddle of moods and intentions. The British comic actor Steve Coogan plays Campbell Babbitt, a flailing, depressed journalist who’s sent to New Hampshire in the mid-1980s to write an article pegged to the imminent liftoff of Christa McAuliffe, the high school teacher who was part of the Challenger space mission.
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The Black Dahlia
The Black Dahlia is a crime noir with more meat on its bones than might be palatable for those who haven’t read James Ellroy’s bestselling book. Unless you’re familiar with the source material, following the intricacies of the Black Dahlia plot can be a frustrating experience and one that all but requires a detailed set of notes in order to keep up with the key players.
Another potential strike against the film is that anyone who hasn’t read Ellroy’s book might go into The Black Dahlia anticipating a straight-forward murder mystery. While The Black Dahlia definitely involves both murder and mystery, the film’s not strictly a whodunit.
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Kickin' It Old Skool
I hope Jamie Kennedy has a huge fan base because I can't see anyone else paying hard-earned money to sit through this. Perhaps my expectations are too high, but when I go to see something billed as a "comedy," I don't expect to have to wait until the final caption before the closing credits for there to be something worth even a feeble laugh. It's not that the art of making movie comedies is dead - the recent Hot Fuzz and the upcoming Knocked Up are proof of that - but that filmmakers have become lazy and contemptuous of their audiences. There's a belief that viewers will laugh at anything because it's supposed to be funny, regardless of whether or not it actually is. Kickin' It Old Skool is the latest of these movies. The ineptitude of the movie's drama is matched only by the failure of its humor.
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Hangover Part II
When Yogi Berra said "It's déjà vu all over again," maybe he said it best. Then again, perhaps it was John McClane: "How can the same shit happen to the same guy twice?" While neither was specifically referring to The Hangover Part II, Todd Phillips' sequel to the unexpected 2009 blockbuster, they might have been. Using the original as a template, The Hangover Part II colors within the lines, but does so with bright fluorescents rather than drab primaries. Despite being mandated by the insane box office success of its predecessor, this movie feels anything but obligatory. It delivers what it's expected to deliver, and that's likely to make it a success
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To some, Mike Myers is Wayne. To others, he is Austin Powers or the voice of Shrek. It's doubtful that he will be Guru Pitka to many. The Love Guru, Myers' latest film and his most recent live-action endeavor since The Cat in the Hat, is as unmemorable as the title character. Although the film can boast clusters of clever and/or amusing material, they are not sprinkled liberally enough to obscure how thin all other aspects of this production are. The Love Guru is a skit that starts out promising but loses momentum as it goes on and on and on… Occasional bursts of comedy keep things from becoming unbearable but whenever Myers tries to get even a little serious or advance the "plot," the desire to take a nap becomes almost overpowering.
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"A few years ago, a friend sent me a book about the prosecution of animals in the Middle Ages... These trials read like modern courtroom dramas. Since the animals were given a full defense counsel and were prosecuted with the whole rigor of the law, it had all the kind of little tricks that lawyers play to get their clients off. What really intrigued me was reading up about [the] people - the renegade priests, the philosophers, the lawyers, people who actually had very modern ideas."
- Leslie Magahey, writer/director of The Advocate
Cookie's Fortune deserves to be appreciated on its own terms. A less-ambitious outing from veteran director Robert Altman (at least when compared to movies like Nashville, The Player, and Short Cuts), this movie delivers agreeable performances and a charming, amusing story that offers little in the way of substance. Those who have identified some of Altman's previous fare as too idiosyncratic or even unfathomable (I know a few people who didn't "get" The Player) may find Cookie's Fortune to be more to their liking. It's not in any way a challenging or difficult film, and watching it affords the opportunity to enjoy numerous minor pleasures.
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Dracula: Dead and Loving It
When it comes to spoofs of horror films, one of the greatest of all time is surely Mel Brooks' Young Frankenstein, a movie that's as clever as it is funny. Now, more than two decades later, Brooks has attempted to re-create the magic by doing to Bram Stoker's vampire legend what he did in 1974 to Mary Shelly's gothic tale. Alas, Dracula: Dead and Loving It doesn't come close to the level attained by Young Frankenstein. It's a toothless parody that misses more often than it hits.
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A Day Without a Mexican
This film takes a satirical look at the range of effects on the (non-Mexican, mostly White) Californians who remain if California's Mexican (both U.S. citizens and immigrants) population suddenly disappeared. The disappearance coincides with a "pink fog" which surrounds California
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On the last working day of Sheriff Wayne, his small town is attacked by blood thirsty ravens that eat human flesh. Meanwhile his wife Cynthia visits a farm where a Mennonite family lives to say farewell to her friend Gretchen and discloses a dark secret about the origin of the fierce ravens.
A Numbers Game
Neal is a good looking, smooth talking, killer deal closer, who can sell anything to anyone at any time. For Neal, sales is just a numbers game you cant sell to everyone, but you make enough calls in one day and you will make money. For Catherine, sales is nothing but stress and hard work. As the manager of a failing sales team Catherines job is on the line, and her boss has called in Neal to turn things around. Will Neals methods help Catherines sales team, or will his smooth talking get them both into trouble?
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Hands of the Ripper
The infant daughter of Jack the Ripper is witness to the brutal murder of her mother by her father. Fifteen years later she is a troubled young woman who is seemingly possessed by the spirit of her father. While in a trance she continues his murderous killing spree but has no recollection of the events afterwards. A sympathetic psychiatrist takes her in and is convinced he can cure her condition. Soon, however, he regrets his decision.
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Five Minarets in New York aka The Terrorist
Two Turkish anti-terrorist agents are sent to New York City on a mission to find and bring back the dangerous Islamic leader codenamed Dajjal, believed to be hiding in there. Working with the FBI and NYPD, the agents orchestrate the arrest of Hadji Gumus, a well-respected Muslim scholar and family man who years before fled to the United States after being released from a Turkish prison, where he served time for murder. This tale love, friendship, peace and prejudices, takes us on a journey seeking to answer the question of whether innocence or guilt even matters to one who lusts for vengeance.
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