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The Human Centipede (First Sequence)
Having made its UK debut at last year's FrightFest, The Human Centipede has attained a cult-like status by word-of-mouth alone, and with such a diabolically disgusting premise at its centre, it's not hard to imagine why. For those with a weak stomach and no idea of what we speak, you might want to skip the next paragraph.
The story goes that Dutch director Tom Six came up with the idea for The Human Centipede when joking with his friends that surgically attaching the mouth of a convicted paedophile to the anus of a fat truck driver would be a suitable punishment for their crimes, and so from there the concept for The Human Centipede was born. The fact that Six was also one of brains behind the original Big Brother TV format in Holland is unconnected.
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Robert Pattinson's been keeping secrets from us. Pattinson, best known for playing Edward Cullen in the Twilight film series, can in fact act and can carry a film that has nothing to do with vampires or werewolves or high school romances. In the Twilight series pretty much all we've seen Pattinson do is look all dark, intense, and broody. There hasn't been much actual acting required of him thus far as Edward. But his performance in Remember Me makes you wonder where this guy's been hiding and why hasn't he shown off his talent - and not just his stylishly tousled bedroom hair - before this.
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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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Kevin Smith has had a bit of a dry spell lately, hasn't he? We all loved the guy when he first emerged with the indie hit Clerks, and the unique voice exhibited in his films that followed was a welcome break from the usual Hollywood dreck. But in recent years his acting credits have provided more amusement than his directing and writing work. So what's been the problem?
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Mr. Bean's Holiday
Most Americans haven’t really had the chance to appreciate the quirky humor of Mr. Bean, especially if their only experience with Rowan Atkinson’s bumbling character was the painfully dull Bean which bored theater audiences to tears in the late 90s. Those of us on the States side of the pond who were lucky enough to have a television station that aired old BBC shows know Atkinson has much more to offer. Mr. Bean doesn’t need a stupid Americanized family-comedy script to be funny, and in fact he does better without much of a script at all. Someone had that realization when they pulled together Bean’s latest cinematic adventure and the result is classic Mr. Bean comedy goodness.
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The Sunset Limited
Pulitzer Prize-winner and acclaimed American novelist Cormac McCarthy (No Country For Old Men, The Road) adapted his original one-setting, dialogue-driven play The Sunset Limited for this HBO production. Jones and Jackson star as two nameless characters (referred to as “White” and “Black” in McCarthy’s original teleplay) who occupy opposite ends of the theological spectrum: Jones plays an atheistic professor and Jackson portrays an ex-convict/evangelical Christian. White’s attempt to kill himself by jumping in front of a train called The Sunset Limited was thwarted by Black, who thereafter escorted the suicidal teacher to his home in a poorer region of New York. Both the original play and movie adaptation take place entirely within the confines of Black’s rundown but sufficient apartment.
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Let Me In
Let Me In is the English-language remake of the 2008 Swedish film Let the Right One In. From the beginning, there has been controversy associated with the "Hollywood-ization" of an edgy, ambiguous vampire tale because many die-hard adherents believed that much of what made Let the Right One In would be compromised in order to appeal to a mainstream American audience. There is some validity to this concern, and it is borne out in the product that has reached the screen. Putting that aside, however, Let Me In represents one of the best and most brutal vampire movies to come along in a while and, despite presenting a romance of sorts between a human boy and a vampire girl, it will not remind many viewers of Twilight. In fact, Let Me In is about as far away from Twilight as one can get, and that's a good thing.
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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.
Kansas City is Robert Altman's disappointing followup to the equally disappointing Ready to Wear, which underwhelmed critics and audiences alike following its Christmas 1994 release. While Kansas City is a modest step forward for one of America's most-respected independent directors, it falls far short of the raw power of Short Cuts or the intricate, biting satire of The Player. Kansas City is a sadly ordinary motion picture, and, in less sure hands, it might have been something of an unfortunate mess. Even with Altman at the helm, however, it manages to be singularly unremarkable.
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Breaking the Waves
According to writer/director Lars von Trier, Breaking the Waves is "a simple love story", but "simple" hardly begins to describe this deeply disturbing, multi-layered drama. In fact, nowhere is the picture's complexity more evident than in its study of contrasts -- it is highly spiritual yet anti-religious, triumphant yet tragic, and personal yet universal. Love forms the film's core, but rather than approaching the subject from a cliched perspective, Breaking the Waves examines no less than six facets of the emotion: transformative love, sacrificial love, redemptive love, destructive love, romantic love, and sexual love. And, despite a slightly disappointing conclusion, this movie still rates among the best of the year.
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There probably isn't a child alive who hasn't, at one time or another, dreamt of what it would be like to freeze time and live outside of it. Clockstoppers, the new science fiction family adventure film from director Jonathan Frakes, illustrates that some fantasies are best left in the mind. Fantasies typically ignore logic and often make no sense, and, at least in this case, that results in a suspension of disbelief curve that is too steep. I'm sure children will have no problem with this, but Clockstoppers definitely isn't for adults. When gaps in consistency and logic are small, it's possible to ignore them. But when they form the foundation of a plot, it isn't.
American Psycho II: All American Girl
The film starts with a twelve-year-old Rachael Newman, whose babysitter is on a date with serial killer Patrick Bateman. As Bateman begins to dissect her babysitter, Rachael breaks out of the duct tape binding her hands and stabs him with an ice pick, which then shows up periodically through the rest of the film. Fast forward to the present day and Rachael is now a college student studying criminology under Professor Starkman, a former FBI agent. Rachael aspires to join the FBI
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My Family's Secret
Grady suffers from multiple personality disorder. Lara doesnt know she just angered the most dangerous one.
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Merlin and the Book of Beasts
Welcome to the dark side of Camelot King Arthur is gone. The Round Table is in ruins. And a rogue sorcerer has unleashed a reign of monstrous terror upon the land. For the courts last remaining knights, their only hope lies in the power of the now-bitter and broken wizard Merlin (James Callis of BATTLESTAR GALACTICA). But can a once-great man of magic defeat a legion of creatures that includes Dragon Soldier, Death Hawks and Gorgons, and still reclaim the legendary castle of lore? Laura Harris of DEAD LIKE ME and 24 co-stars in this epic adventure that puts a savage new edge on the saga of Excalibur, Mordred and the ultimate battle between MERLIN AND THE BOOK OF BEASTS.
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A group of Ghost Hunters discover a powerful force that puts one of their members in great danger.
On a hot summer afternoon in the sleepy town of Blackwater, Louisiana locals exiting a retro-fitted theater excitedly watch as a meteor streaks across the sky and crashes through the roof of the local Natural History Museum. No one realizes that the meteor is actually a spaceship containing a shape-shifting life form. In order to adapt to Earths atmosphere, the life form latches on to the first organism it comes in contact with - a partially frozen Woolly Mammoth found in the historic exhibit for which the town is famous. As a series of uncanny disasters unfold, the town quickly finds itself overrun by the alien-possessed mammoth. Local authorities and Government Investigators join forces with Frank Abernathy, the Museum Curator, and his father Simon, a B-Movie enthusiast to bring down the mighty mammoth, thus saving the town (and the world) in a wild adventure that blends the 50s alien-invasion flick, and the 70s revenge-of-nature opus into a marauding monster mash!