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The Fourth Kind
Much like The Blair Witch Project and the recent sleeper hit Paranormal Activity, The Fourth Kind is a faux docudrama about weird happenings. But where those two films dealt with the realm of the supernatural, The Fourth Kind chronicles what it claims is a real-life case of alien abduction.
After an introduction by Milla Jovovich, which promises us that disturbing documentary footage is in store, The Fourth Kind follows both the "real" and the reel Dr. Abigail Tyler (played in reenactments by Jovovich) as she recounts her tale of alien abduction, a fourth kind of close encounter that Steven Spielberg never explored. Abby, a psychologist in Nome, Alaska, is still traumatized by her husband's violent, mysterious death. She has vowed to continue the psychological study that he had begun, which employs hypnosis to help patients remember traumatic events they've blocked out.
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Ang Lee's latest film Taking Woodstock, based on Elliot Tiber's memoir, recounts how 1969's Woodstock Music and Arts Festival came to be. The film follows Elliot Teichberg (Demetri Martin), a young, closeted interior designer who begrudgingly leaves his life in Greenwich Village behind to go home and help his overbearing Jewish immigrant parents Jake and Sonia (Henry Goodman and Imelda Staunton) save their rundown motel in the Catskills.
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A off-world look at the superstitious repercussions of tattooing an Ouija Board on your body. Hagen, who has a dead wife believes that he can revive her from the dead. Travis, a man who lost his brother and wants to join him in the after life. Morbius, a bartender who is betrayed by those he loves comes back from the dead to take revenge. And a strange man only known as Mr. Skinny protects the secrets of the Ouija Board and how the stories weave and affect each other
One of the positive qualities often attributed to movies in which Judd Apatow claims involvement (here, he's listed as a producer) is that, beneath all the raunchiness and profanity, lies a core of sweetness. It's the Tootsie Pop philosophy of R-rated comedies. Bridesmaids contains many of the common characteristics of Apatow movies, as filtered through the pens of screenwriters Kristen Wiig and Annie Mumolo and the directorial stewardship of Paul Feig. However, at the center lies not a pleasurable confection but the bitterest bile. Bridesmaids is bipolar filmmaking at its most disconcerting, with changes in tone so abrupt that they can cause whiplash. In part because of this and in part because the writing is often lazy and self-indulgent, the movie rarely works. The setup is ripe for a black comedy but the movie never fully embraces the darkness and the level of humor is on par with the limp skits for which Wiig is responsible on Saturday Night Live.
Bad Santa's Willie (Billy Bob Thornton) is the kind of guy who makes Scrooge look like a generous, mild mannered eccentric. With a character as thoroughly unlikable as this, you know immediately that Bad Santa is not going to be just another modern-day version of A Christmas Carol. It has two modes: dark and darker, and dares to do some things with the Christmas motif that haven't been done since Norman Rene's Reckless. Realistically, however, what else would you expect from a movie directed by Terry Zwigoff (Crumb, Ghost World) and executive produced by the Coen Brothers?
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The Oscar buzz surrounding Peter O'Toole is deafening. Despite having been nominated seven times, he has never won an Academy Award (unless you consider the honorary statue presented to him a few years ago). Roger Michell's Venus, which may be O'Toole's final major screen appearance, could provide him with one last shot. The film, which has generated some minor controversy, centers on the relationship between a 73-year old actor and a 20-year old would-be model. The 50 year gap makes this a March/December romance that would impress even Charlie Chaplin and Tony Randall. This is tricky territory for a film, but Michell navigates it with sensitivity and class. Venus is not crass or exploitative. It deals seriously with the possibility that an old man might fall in love with a young woman, and that (at least on some level) those emotions might be reciprocated. There's a lot more going on here than a dirty old man ogling an attractive young thing.
Combine the Farrelly Brothers (Bobby and Peter) with Ben Stiller, a Cameron Diaz lookalike, and a copious dose of bodily fluids in a raunchy romantic comedy, and what do you get? Not There's Something About Mary II, that's for sure, although that was probably the producers' hope. The Heartbreak Kid, while not without its share of tiny, ephemeral pleasures, is a surprisingly flat and unamusing comedy. The film skews toward the dark side, but black humor is often the most difficult to successfully capture and in this case the Farrellys (with a small army of screenwriters, working from the framework of a 1972 script penned by Neil Simon) don't get it right. The occasional laughs provided aren't frequent enough or uproarious enough to warrant an investment of nearly two hours of a viewer's time.
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Million Dollar Baby
Warning! Beginning with paragraph #4, there are spoilers. Viewers who like virginal movie experiences should proceed at their own risk.
What a marvelous return to form Clint Eastwood has made following the disaster of Blood Work. In fact, one could argue that his two most recent films, Mystic River and Million Dollar Baby, have ushered in the most dramatically compelling phase of Eastwood's long career in front of and behind the camera. It's difficult to say which of these two magnificent films is more powerful - both left me stunned and haunted, and both evidence only the tiniest of flaws. Mystic River captured a place in my Top 10 list of 2003; Million Dollar Baby will find a spot on the 2004 roster.
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Transformers 3: Dark of the Moon
In the wake of widespread criticism of the second live action Transformers movie, Revenge of the Fallen, director Michael Bay admitted dissatisfaction with the screenplay and blamed it on the writers' strike. So what's the excuse this time? If anything, the script for Transformers: Dark of the Moon is worse than that of its predecessor. In the future, maybe Bay should abandon using a screenwriter altogether and just fill up 90 minutes with disconnected images of robo-carnage. That would serve two purposes: eliminate the need to watch actors embarrass themselves trying to outshine the hardware and elide excruciating dialogue, exposition, and "character development," all of which are inferior to what one finds in the average Pink Panther cartoon.
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King of the Hill
During the Great Depression in Saint Louis, Aaron Kurlander's (Jesse Bradford) family is falling apart. His little brother has been shipped off to live with an uncle, his sick mother (Lisa Eichhorn) has been admitted to a sanitarium, and his father (Jeroen Krabbe) must go on the road to make money. So Aaron is left on his own in a fleabag hotel, with no money and few friends. Life becomes a struggle for the twelve year old -- the hotel wants to evict him and his meager supply of food is running dangerously low -- and it's only through his remarkable resourcefulness that he manages to survive.
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The movie begins with Detective Sergeant (DS) Tom Brant (Jason Statham), a hot headed police officer of turbulent South East London station, beating up 3 youngsters who were trying to steal a car.
Brant is approached by PC Elizabeth Falls (Zawe Ashton) asking to help her in passing Sergeant's exam. Brant advises her to give it some time as she had been out of the rehab recently (previously she was working undercover for Drug Squad and hence got addicted). Brant is also warned by his superior to control his actions, which include bugging the Superintendent's Office, beating a person unconscious in a billiards hall and the earlier assault on the 3 youths.
Dorian Shanley, is a heart surgeon who abuses alcohol and drugs. Dorian trades stolen pharmaceuticals for cocaine , provided by his best friend and enabler, Teddy. While Dorians life and career take a nosedive, Shanley numbs the pain of losing his father, William Shanley, to a form of Alzheimers common in prizefighters. To further complicate circumstances, Dorian falls in love with his girlfriends best friend from college, Anna. The film follows Shanley through a maze of pharmacies, clubs and binges and surgeries, into the heart of drug abuse.
Supernatural - Season Five
Season Five consists of 22 episodes and was rumored to be the last season, due to Eric Kripke's statements over the years that he had planned for the show to run for only five seasons. Despite this, Jared Padalecki and Jensen Ackles had contracts for a sixth season, and The CW renewed the series on February 16, 2010.
The fifth season revolves around the fight to stop Lucifer and save the world from the Apocalypse. Throughout the season, Dean and Sam battle both angels and demons as they fight their destiny to become the vessels of Michael and Lucifer. Unable to defeat Lucifer, they collect the rings of the Four Horsemen of the Apocalypse, which act as the keys to Lucifer's prison. The idea of destiny versus freedom and choice plays a large role. Throughout the season, Dean, Sam, Castiel, and Bobby each have a crisis as they near giving up. However, through each other's support, they continue forward until the end. Also in this series Castiel rebels against Heaven for Dean. It is also notable that Bobby and Castiel have an ongoing friendship during this season, while Dean and Sam grow further apart.
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A British design executive, who seemingly has everything going for him has his life totally changed when a refrigerator falls from an aircraft and lands on his wife. He decides to getaway from it all by taking a trip to Australia. On his bus, he meets a wild group of eccentrics, including a woman who has stolen cash from her drug-dealing boy friend. As the movie moves along, we learn further that the executive is constantly accident-prone and drawn into unlikely situations. The films title refers to a new design color that Roache is trying to develop.
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Kiss of the Dragon
Liu Jian, a police officer from China, comes to Paris to help the vice squad apprehend a Chinese drug lord and his unknown French connection. The French connection is Richard, the head of the vice squad, who intends to kill the drug lord then frame Jian. Jian ducks a bullet and escapes with a tape of what really happened. By chance, Jian turns to Jessica - a US farm girl who is one of Richards hookers - for help. She has her own problems, including the fact that Richard has her daughter locked in an orphanage to keep Jessica on the streets and silent about his activities. Can Jian protect Jessica, rescue her daughter, and give Richard the kiss of the dragon?
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Must Love Death
Disappointed by love, suicidal Norman arranges to meet some like-minded people. But when he arrives at the meeting the alleged suicides turn out to be unscrupulous killers looking for a willing victim. A comical and macabre fight against death begins.
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