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Writer, producer, and wannabe action star Hector Echavarria, still fresh from shooting the MMA turkey NEVER SURRENDER, returns with another exploitive, low-budget MMA bomb in the same year and he’s even wearing the exact same clothes! Again, we get a group of pro-MMA fighters in supporting roles, unnecessary soft porn, bland power rock, and shoddy fight work that does neither MMA justice nor action cinema in general.
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he Shortcut is a PG-13 thriller that tells the story of a group of high school seniors that decide to find out the truth about the creepy old man who lives on the wooded land intersected by the shortcut.
With its catchy tagline (“Some urban legends are real!”) and a “non-horror fan” friend’s recommendation, I decided to watch The Shortcut. What the hell was I thinking?
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Next Day Air
Some of us abhor vacuums, while others merely ignore them. Either way, those gaps tend to fill themselves, so that the willing world may indeed discover what a musical set to the tunes of ABBA must look like, or even how an urban answer to Guy Ritchie's twisty comic-violent crime capers would turn out.
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Although his books seem particularly difficult to adapt, several filmmakers have done fine work turning Brett Easton Ellis' stuff into feature films. As a matter of fact, I'd go as far as to say that ALL of the films based on Ellis' books are actually better than the source material. Certainly American Psycho, and maybe to a slightly lesser degree on Less Than Zero and The Rules of Attraction. But with the arrival of Gregor Jordan's nearly unwatchable The Informers, Ellis finally got the adaptation we haven't been waiting for.
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As a history lesson, Amazing Grace is okay. It stays reasonably true to the established record with minimal embellishment. However, as motion picture, the film is lacking in several key areas. The presentation is choppy, with lengthy sections devoted to the events occurring during short spans followed by jarring leaps ahead in time. Character development is perfunctory, with most individuals in the film falling into the "good, noble" camp (abolitionists) or the "evil, rapacious" camp (those in favor of continuing the slave trade). This occasionally causes Amazing Grace to play less like a movie and more like a morality play.
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Boys Are Back
It is said that films are not made about fully functional families because their stories are inherently uninteresting. The Boys Are Back shows that dysfunction doesn't necessarily equate to compelling. There's nothing terribly wrong with this leisurely paced chronicle of a single father's struggles parenting his two sons, but there's nothing terribly right with it, either. It's well-acted, competently directed, and features some beautiful cinematography (Greig Fraser provides breathtaking shots, especially one of tall grass being prompted by a strong breeze), but the story is ordinary and the emotional involvement is limited. It is often said that melodrama can ruin a motion picture, but that comment typically refers to an excess. The Boys Are Back could benefit from an injection of a little. This is the kind of movie that works best when one relates to it on a primal level more than on a purely intellectual one. Director Scott Hicks, who showed an uncanny ability to walk the line between too much and too little melodrama in Shine, is arguably too reticent in his treatment of this father/sons story.
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Blair Witch Project 2, The: Book of Shadows
It was as ill-advised as it was inevitable: a sequel to 1999's most unexpected hit, The Blair Witch Project. These days, however, creativity rarely enters the question when huge amounts of money are involved, and The Blair Witch Project brought Artisan Entertainment such a landslide return on their investment that both a sequel and a prequel were announced before the dust had settled. Never mind that The Blair Witch Project was obviously designed as a one-off project and that subsequent installments would not only suffer in comparison with the first, but would come across as awkward, ungainly grafts onto a story that could only be hurt by a single additional frame.
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Since the death of Alfred Hitchcock, many filmmakers have vied to succeed the Master of Suspense. With apologies to rip-off artist Brian De Palma, my vote goes to David Mamet, whose films House of Games and The Spanish Prisoner can stand alongside any of the best modern mystery/thrillers. No, they don't always make sense, but they are incredibly enjoyable - two characteristics that were true of many of Hitchcock's works.
Bubble is a history-making movie: the first film released simultaneously in movie theaters, on pay-per-view TV, and on DVD. As the initial move toward the collapse of the multiplex-to-video window, it's a baby step. The film is an excellent choice for this. It's a low-budget, independent effort with little mainstream appeal. But Steven Soderbergh's name on it guarantees it won't be overlooked. For those not living near one of the thirty-odd venues offering Bubble on their marquee, there is no need to wait four months for home video availability. In fact, it's possible to argue that the DVD is the preferred way to see the film. It's not the kind of movie that will suffer from a reduction in screen size, and there are several valuable features on the disc (an intriguing deleted scene, interviews, and two commentary tracks) that are not found in theaters.
The crown jewel of 1995's summer blockbusters appears to have arrived early. It's hard to imagine any motion picture released between now and August matching Mel Gibson's Braveheart for spectacle. With its clashing armies, heartstopping action, and grand sense of romance, this is the sort of film it's a pleasure to see and review.
Considering his recent surge in American popularity, it was all-but-inevitable that Jackie Chan would eventually show up in a big-budget Hollywood action picture. (He hasn't been in one since he did the Cannonball Run films back in the early '80s.) That production is Rush Hour, a somewhat lackluster cop buddy movie that goes wrong in two big ways: (1) it fails to utilize Chan's full range of skills, relegating him to the role of a kickboxing action hero and virtually ignoring his comedic aptitude, and (2) it saddles him with a partner, played by the irritating Chris Tucker.
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In this futuristic film, law and order are things of the past as cops are driven off of the crime-infested streets. It is up to a group of vigilantes to set things straight.
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This year is the 108th anniversary of the Korean high School WaSanGo (Volcano High). Principal hides himself with Secret Manuscript which every WaSanGo student wants to take from principal...
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Rudy: The Rudy Giuliani Story
Biographic movie of the witty, overachieving, hot-tempered Rudy Giuliani, spaning from his rising days as a New York district attorney in the early 1980s to his marriage to part-time actress Donna Hanover, to his candicies for mayor of New York City and his controversial methods to tackle the citys crime and urban problems, as well as his romance with his assistant Cristyne Lategano which lead to the failure of his marriage, to his battle with prostate cancer, all leading up to the terrible day of September 11, 2001 which Guiliani himself narrowly escaped death after suicide terrorists hijacked and crashed two passenger airliners into the twin World Trade Center towers leading to their collapse in which Guilianis toughness and spirited personality help calm the citys residents to face the chaos on that day which made him a national hero.
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Johnny Wagner is smoked-out pottery student waiting to get off probation. While evading a surprise drug test, Wagner crashes his bike and is knocked unconscious. During his blackout, the legendary Johnny Appleseed appears and urges Wagner to follow in his footsteps by planting seeds. Wagner recruits two long time friends to help him in his quest, a sensitive pyromaniac poet and her brother, a self-serving filmmaker. The three set out into the woods and countryside to plant the seed, marijuana seed that isand so becomes Johnny Appleweed.
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My Name Is Bruce
Four teenage kids from the tiny mining town of Gold Lick vandalize a nineteen-century cemetery of Chinese laborers when one of them disturbs a demon whos been guarding the souls of 100 workers killed in a cave-in. Jeff, the surviving teen, goes in search of his hero, over-the-hill B-movie star, Bruce Campbell. Jeff kidnaps the actor and brings him to Gold Lick to save the town. Bruce thinks its a birthday treat engineered by his agent, so he plays along, humoring the townsfolk and chatting up Jeffs unimpressed mom. Bodies pile up as the demon slashes. What will the sorry, boozy Bruce do when he realizes that Guan-Di, the demon, is for real?
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