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Trick 'r Treat
I'm not a horror movie guy. Never have been, never will be. But in the last few years I've grown to respect certain films from the genre, whether for personal reasons or for critical reasons, but it's rare that I ever come across a horror movie that I genuinely love. Yesterday night I finally found one. I'm not sure whether it's my childhood affection for Halloween and the act of trick or treating that provoked my appreciation for this movie, but whatever the reason, by in the end I walked out a bigger fan of horror than I've ever been. Michael Dougherty's Trick 'r Treat is, in my own opinion, the absolute best horror movie I've seen in years and it's sadly being buried by Warner Brothers. Unless I convince them to change their mind.
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“Polar Storm” directed by Paul Ziller is a Sci-fi movie which again follows the gang in predicting that life on earth is nearing its end. Since this movie not shot on a lavish budget, the scope for breathtaking graphics are minimal and the director cleverly chose to have electro magnetic field as the culprit for the destruction of life on earth.
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The Morgue is a silly horror film rated R for violence and for the gratuitous and severe overuse of the worst word that you can use. Lisa Crilley stars as our illustrious and somewhat dimly-lit morgue worker/college student, Margo Dey. How long has she worked there? I wonder to myself, as she hasn't noticed what a bad place this seems to be.
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A demonic turkey is unleashed and he's one fowl-mouthed bastard! Five college kids: a jock, a good girl, an overweight red-neck, a slut, and a nerd head home for Thanksgiving break, each thankful for the chance of holiday hookups. But when their car suddenly overheats, they trespass into the woods for a night of drinking and bonfire debauchery. Little do they know, these are the same woods where an ancient turkey was necromanced 386 years ago by an Indian curse after the very first Thanksgiving. Now, The Killer Turkey is awakened and ready for revenge on the first white men he comes in contact with!
Let it Rain
Let it Rain, a French film that has taken two years to reach North American theaters (a testimony to how poor the market is these days even for well-made, high-profile foreign fare), makes the case that simplicity in a motion picture can be a good thing. The director, co-writer, and co-star of Let it Rain is Agnès Jaoui, who has been a presence in French film since the mid-1980s as an actress, the early 1990s as a screenwriter, and 2000 as a director. This is her third film, following The Taste of Others and Look at Me. Jaoui has a distinct style: small, almost inconsequential narratives; well-defined characters; oblique, subtle social commentary; and enough humor to make one wonder whether the movie is better classified as a "drama" or a "comedy" (not that such labels would mean much to the filmmaker). Let it Rain fits in well with Jaoui's other efforts (both as a writer and as a director).
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Catch and Release
Catch and Release is a confused, disjointed motion picture that tries to be many things and succeeds in being none. In less than two hours (although it feels considerably longer), writer/director Susannah Grant cobbles together nearly every imaginable plot, element, and device except the kitchen sink (although she manages to get the bathtub in there). Despite possessing a few effective and affecting scenes, Catch and Release is a mess and the methods it uses to bring closure to its diverse storylines feel trite and contrived. Leaving the theater, I was struck with a sense that the movie not only could have been better, but it should have been so.
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15 years ago, this is the kind of chilling, gripping thriller that a hungry distributor like Miramax would have snapped up. Now, it's up to a small company like Wellspring to find these gems in the rough and bring them to our attention. Red Lights is one of the best thrillers I have seen this year: tight, taut, and unpredictable. A great screenplay (based on a novel by French crime writer Georges Simenon, the creator of Inspector Maigret) and top-notch direction (by Cédric Kahn) are only
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"You know what the problem with Hollywood is - they make shit."
It is with that statement - not profound, but undeniably true - that Swordfish opens. And, while this movie isn't going to convince anyone that the major studios have suddenly turned over a new leaf and are producing better fare, it's certainly a lot more entertaining that most of the painfully long and joyless cinematic "events" that have thus far marked the dismal Summer of 2001. In its zeal to cram every potential blockbuster with as many special effects as possible, Hollywood has forgotten that summer movies should be made for the appreciation of the consumer, not to give filmmakers an arena in which to show off. Swordfish at least remembers that this sort of film is supposed to be fun.
My concept of a "family film" is a movie that can be enjoyed by viewers of all ages: undiscriminating young children, teenagers with short attention spans, and adults with somewhat more refined standards. Unfortunately, too often Hollywood equates a "family film" with something aimed at the under-10 crowd. While Disney's live-action pictures have often fallen victim to this approach, the corporation's animated features have remained largely exempt (although it's possible to argue about how widespread Hercules' appeal is). Mulan, Disney's 36th animated movie, continues this trend. Arguably the most mature of the eight "new wave" (post- 1988, beginning with The Little Mermaid) films, Mulan effortlessly blends serious, comic, and cute elements into a whole that should entertain the majority of movie-goers, regardless of race, gender, or age.
It seems that once every dozen-or-so years, Sean Connery has the urge to go back into Bondage. After turning in his tuxedo and Aston Martin following 1971's Diamonds Are Forever, Connery ventured into the acting market as a free agent. His vow to "never again" play 007 held for a little over a decade. Lured back by an enormous sum of money and the offer of limited creative control, Connery returned to Her Majesty's Secret Service in 1983, with the "unofficial" Bond entry, Never Say Never Again. Now, in 1996's The Rock, the veteran actor has once more come home to the action genre. Granted, his character is called John Mason, not James Bond, but Connery plays him exactly as he might portray a sixty- something version of the world-renowned British spy.
Rosewood, central Florida, 1923. The town's population numbered about 120, mostly black. It was a prosperous, happy community until a January day when one woman's lie set off a chain of events that would have devastating results. That woman was Fanny Taylor, and her false claim to have been assaulted by a black man resulted in the formation of a lynch mob that headed for Rosewood with arson and murder on their minds. Before the week was over, blood was shed and the town was in ashes.
Phantom Force screenplay is seems to have something in common with the one of Lowecrafts novels submarines, deep sea and an ominous mystic artifact make this supposition believable. Phantom Force is the unique group struggling against the paranormal activity in the depths of the Aegean Sea where the ghostly sub dwells. An ancient and powerful artifact, the Hades Stones, is raised off the ocean floor and brought onboard. The stones are a portal, which connects our world and the spirits realm allowing demons and other terrific beings to creep aboard the mysterious submarine. These gates of Hell can be the devastating weapon of the Judgment day if fallen into the wrong hands.
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A Life Less Ordinary
Ewan McGregor stars as a cleaning man in L.A. who takes his bosss daughter hostage after being fired and replaced by a robot. Two angels who are in charge of human relationships on earth, offer some unsolicited help to bring this unlikely couple together. The angels are so successful that the daughter soon turns on her father in order to save her captor.
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Lost - Season Six
Follow the epic twists and turns of LOST as it is time for our characters to finally learn their ultimate destiny in LOST, The Final Season.
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Love's Kitchen aka No Ordinary Trifle
Rob Haley (Dougray Scott), an up-and-coming chef and restaurateur in London, is grief-stricken when he loses his wife. With encouragement from his infamous friend and real life TV Chef Gordon Ramsay, Rob decides to spice up his life by turning a run-down country pub into a gourmet restaurant. His food catches the eye - and taste buds - of beautiful American food critic Kate Templeton (Claire Forlani) and they soon both write a recipe for love that leaves both their hearts - and their stomachs - in full.
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It was a normal night in Las Vegas, Nevada, all the lights were flashing brightly, until a man with one hand, one eye, and one leg walks into a pawn shop with a statue of a hideous looking Leprechaun. The owner claims its a good luck charm. The statue also wore a medallion around its neck. The careless pawn shop owner took off the medallion setting the Leprechaun free, along with his pot of gold that everyone wants and like before, hell kill anyone who goes near it. Driving into town that night was a young man named Scott who was off to L.A. to go to school. Along the way he meets a sarcastic, but friendly, girl named Tammy. Scott tries gambling but loses everything, so he goes to the pawn shop to pawn his Rolex watch. At the shop, he finds the dead owner and one of Leprechauns gold coins that grants a wish to its finder. Scott wishes for a winning streak, but what he does not know is that the casino is run by a crooked man who hates to lose. Also in the casino is an ignorant and dim magician Fazio and Loretta, a middle-aged gal. Before long, Leprechaun shows up to claim his coin, he bites Scott and in the process some of Leprechauns green blood spills into Scotts wound, so before long Scott transforms into a tall Leprechaun and he needs some help! Only trouble is, the hospital doesnt accept his insurance company Green Cross. The Leprechaun kills and mauls everyone in his path for his measly gold coin and Scott must choose whether to destroy the pot of gold as well as Leprechaun, or keep it and remain a Leprechaun himself.
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