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I Spit on Your Grave
Guillermo del Toro noted that he doesn't know why people get all up in arms over the current reboot/remake craze in Hollywood. The studios have been doing it for decades, he said, and sometimes it results in pretty good movies too -- films that bring something new or different to the core concept of the original. Fair enough, though it does leave one wondering what del Toro would say about the new I Spit on Your Grave then.
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Scott Pilgrim Vs. the World
As fans of Shaun of the Dead, Hot Fuzz and the television series Spaced are well aware, director Edgar Wright is known for playing with genre conventions and co-opting – or perhaps remixing would be a better word for it – familiar movie tropes to create something new. Scott Pilgrim – Wright's first cinematic outing without co-writer Simon Pegg or actor Nick Frost – blends elements from movies, TV, comic books and videogames, creating a pop-culture cocktail that is fun, funny and deliciously offbeat.
Michael Cera stars as the title character, yet another version of the awkwardly charming and unlikely romantic leads he usually plays. In this case, though, his inherent likeability is essential for role. Scott Pilgrim is a flawed guy, and his actions aren't always honorable, yet you can't help but root for him to get the girl in the end. He also displays an expanded range of emotion, from depression to anger to optimism, that we haven't really seen from him before. And he actually kicks some ass, too.
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Under the best of circumstances, a relationship demands work and nurturing. Like a plant, it must be carefully tended after it sprouts and guided to maturity. Neglect can cause it to wither or become stunted or overgrown. Adam chronicles the relationship between a "normal" woman and a man with Asperger's Syndrome. With relatively few concessions to melodrama, Max Mayer's film explores the unique pressures put upon a relationship when the participants are not so much mismatched in terms of socio-economic standing or race but in the manner in which their minds process information. Those with Asperger's, a form of high-functioning autism, look at the world in ways that are fundamentally different. Although they can function normally in society, their differences can often seem like defining characteristics.
To say that The Signal has major tone problems is to understate the problem. While it's possible for a movie to function simultaneously as a horror movie and a parody of the genre, it's not the easiest trick to pull off and first-time feature directors David Bruckner, Jacob Gentry, and Dan Bush miss the mark badly. The film's wild swings from atmospheric apocalypse to ultra-gory horror to boldfaced camp to outright comedy are both dizzying and off-putting. It doesn't take long for the The Signal's promising beginning to fade into a haze that leaves the viewer exhausted and irritated. And the sense that events are building to a big "reveal" results in a letdown when the film ends conventionally without fulfilling the implicit promise.
Solaris may be the first big budget science fiction motion picture that belongs in an art house rather than a multiplex. The movie bears a stronger resemblance to 2001: A Space Odyssey than to Star Wars, with an emphasis on ideas over action. Those expecting to see space battles and bug-eyed aliens will be disappointed. There's nothing like that here. The experience of watching Solaris doesn't just invite thought and rumination; it demands it.
Of his last four films, Oscar-winning director Steven Soderbergh has developed three remakes (besides this one, the other two are Traffic and Ocean's 11). Solaris is based on the novel by Stanisalw Lem, which was first brought to the screen in 1972 by Soviet filmmaker Andrei Tarkovsky. The earlier film, which clocks in at a lengthy 165 minutes, is as slow as it is fascinating. Soderbergh's re-interpretation, which is more economical (it's about 65 minutes shorter), has many of the same strengths as Tarkovsky's version without the somnambulant pace. Soderbergh's Solaris establishes a dreamlike state that allows events to unfold in an unhurried fashion without losing a patient audience's attention.
Truth About Charlie
Remaking movies is always a risky endeavor, and remaking a classic can border on the foolhardy. Taken on its own terms, however, Jonathan Demme's The Truth About Charlie, a '00s re-interpretation of the 1963 thriller Charade, is a decent – and even engaging – motion picture. It's not a great movie, or even a very good one, but, if you try not to compare it too much to the original, it works. Given the option, it's better to see Charade, which easily tops Demme's version for star power, if nothing else, but The Truth About Charlie has its own set of charms, not the least of which is Thandie Newton.
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Howl's Moving Castle
Now that Disney has joined Fox and Dreamworks in abandoning traditional animation for that of the 3-D computer generated variety, hand-drawn animation has become an endangered species (although, given the cyclical nature of this sort of thing, it will probably eventually re-emerge). Perhaps the only high-profile hold-out of this venerable genre to reach U.S. movie screens is Hayao Miyazaki, Japan's premiere animated filmmaker. Known for nearly two decades by fans of Japanese anime, Miyazaki gained widespread American exposure when his previous feature, Spirited Away, won the Best Animated Feature Oscar in 2003. Since then, Miyazaki's latest, Howl's Moving Castle, has been awaited with great anticipation.
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Out of Africa
Watching Out of Africa a quarter of a century after its release, it's almost impossible to guess how it won the Oscar for Best Picture. There's little doubt that this is a feast for the eyes and ears. The pairing of John Barry's lush score with David Watkin's poetic cinematography is worth the price of admission. Would that the story, based on the memoirs of Isak Denesen (the nom de plume of Karen Blixen), warranted equal praise. There's nothing wrong with Out of Africa. Sydney Pollack's direction is quietly competent and the acting by Meryl Streep and Robert Redford is top notch. But the lazy story is little more than an ordinary melodrama that simmers without ever reaching a boil. To tell the truth, during the entirety of the movie's nearly three-hour running length, I was more interested in the scenery and Barry's music than I was in the characters. Yet, in large part because of the talent involved, this became THE prestige picture of 1985, and the Academy treated it as
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The Cat in the Hat
There is an almost overpowering desire to write this review in the style of Dr. Seuss, but I will resist it - primarily because the end product is more Mike Myers and overblown production design than it is the clever text of one of the most beloved of all children's books. Because The Cat in the Hat is only 70-something pages long (with very LARGE print), it stands to reason that, to make it into a movie, a lot has to be added, and it's mostly in the padding that the movie fails to stand up. As a 30-minute short, this might have been a lot of fun. But as an 82-mintue feature, it seems painfully dragged out. Younger children probably won't mind, but parents will be keenly aware that longer isn't necessarily better.
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A man named Andy Fiddler (Eugene Levy) is in his bathroom, preparing a speech. He works for a dental supply company, and lives in Milwaukee, Wisconsin. He will soon be giving a speech to investors in Detroit, and is very nervous.
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A desperate father takes his ten-year-old son, Chook, on the run after committing a violent crime. As the two journey into the desert and an unknown future, their troubled relationship and the need to survive sees them battling the elements and each other. Chook eventually takes control and the choice he is forced to make has a devastating effect on both their lives.
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Set in 1983, just after the birth of the Automated Teller Machine, High Life is a story of kinship, loyalty, and honour amongst thieves. In a busy downtown hospital, a visit from his former socio-pathic cellmate Bug (Stephen Eric McIntyre) has just gotten Dick (Timothy Olyphant) fired from his job as a hospital janitor. Unemployed and in need of fast cash Dick gets the idea to rob one of the day’s brand new ATM's, to “buy a little self-respect”, announces Dick to Bug and the team. Enter the charismatic, criminally-minded Donnie, (Joe Anderson) and the front-man, the sexy, sleepy-eyed charmer Billy, (Rossif Sutherland) and all of the pieces are in place.“It’s a precision job,” says Dick the night before the heist: “No violence.” You think?
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Drive-By Chronicles: Sidewayz
When Sidewayz (Alvaro Orlando) makes the decision to sidestep the dubious choices of his past and leaves violent gang life, he is faced with a whole new set of challenges, including battling accusations of an affair with his new bosss wife. Kenneth Castillo writes and directs this drama about the power of choices, integrity and character
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Horror Of The Zombies
When a publicity stunt of two models on a boat goes horribly wrong and the two get lost in a fog. They end up on a creaky floating tomb of the blind dead. Thats right, these sea going Templars make short work of the Supermodels and move along. The head of the modeling agency and a group of employees start looking for the babes and too meet the Templars Pirates. But can they escape the fate of the models or will they too succumb to the monsters of the deep?
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Children of the Corn: Genesis
TIM and ALLIE seek shelter in a remote desert compound after becoming lost and stranded. A strange Manson-like character, PREACHER (Drago), reluctantly allows them inside with strict orders to be gone by morning and not wander where you are not invited. At first, Preacher and his mail-order wife OKSANA (Nedeljakova) deny the faint screams and cries that emanate from one of the crumbling outbuildings. When Allie sneaks outside to investigate, she discovers that she and Tim have stumbled onto a bizarre cult worshiping an entity that may -- or may not -- dwell inside a haunted little boy.
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Improvisation My Dear Mark Watson - Season One
New series. Regular panel game guest Mark Watson gets his own show to host, where comedians improvise in front of green screens that create settings for the comedy scenarios.
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