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The concepts at the center of the Tribeca film Transcendent Man are familiar to even the most casual of sci-fi fans: artificial intelligence, nanobots, machine-against-man global wars, techno-imbibed immortality, and so on. What separates this film from your run of the mill genre movie, however, is that Transcendent Man is actually a documentary which posits that all these concepts could just be a decade or two away from really happening.
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One Missed Call
One Missed Call is yet another PG-13 horror movie adapted from a Japanese source. Taken in concert with The Ring, one has to wonder if these productions illustrate some subconscious fear of technology felt by the Japanese. First, they're being menaced by video tapes. Now, it's cell phones. What's next: The Blu-Ray ghost? One Missed Call starts out with an intriguing premise then ruins it by trying to build a story around it that explains too much. Of course, the more exposition it delivers, the sillier the entire thing becomes until it collapses under its own weight. This is the kind of concept that cries out for atmosphere and existentialism, not gratuitous "boo!" moments and endless shots of people crawling around in dark spaces with a flashlight.
If ever there was a reason not to check your cell phone voicemail, this is it - not that most of us worry about a ghost hiding out in the circuitry of our most indispensable electronic gadget. (Although I wonder about gremlins sometimes…) Of course, it doesn't matter if you forget your password, because cell phones in this movie don't use them, nor do they need batteries, which could be an argument in favor of a haunted phone. No more worrying about recharging or having to hang up when the indicator reads "zero bars." Presumably, the ghost has also solved the cell signal problem. The single drawback - looming death - is one of those side effects that probably shouldn't be ignored.
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It can be convincingly argued that John Waters' oeuvre is an acquired taste. If that's the case, I haven't yet acquired it. I view Waters as a pre-adolescent male in a state of arrested development. He is obsessed with what kids snickeringly refer to as "potty humor," and his movies reek of it. Rather than being incisive or challenging, they're merely vulgar and offensive. (And it takes a lot to offend me…) There's nothing in Waters' latest, A Dirty Shame, to rival his most infamous cinematic moment (Divine eating a turd in Pink Flamingos), but there's some pretty gross stuff. The title is apropos.
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The Boys & Girl From County Clare
In the late '60s, two brothers return to their hometown for the annual All-Ireland finals for traditional Irish Ceili (folk) music. Jimmy (Colm Meany) and John Joe (Bernard Hill) will do anything to keep the other one's band from winning the contest, but amidst the proceedings, new revelations come out about their past, as the beautiful violin player from John Joe's band (Andrea Corr) falls for the flute player in Jimmy's band.
Director John Irvin is best known for war films like Hamburger Hill and Dogs of War, so it's a surprise to see his name on a movie like The Boys & Girl From County Clare, which is about as far as removed from his other films as is possible. It's more impressive that he does a better job with this warm comedy than he has with other forays into other genres.
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Last King of Scotland
The Last King of Scotland, in addition to having one of the most misleading titles of any movie to open this Oscar season, could also be 2006's Hotel Rwanda. Like last year's sadly overlooked feature, this one peers into another troubled African nation: Uganda. The Last King of Scotland explores the turmoil and troubles surrounding the beginning of one of the country's darkest recent periods: the Idi Amin regime, which lasted from 1971 through 1979 and resulted in thousands upon thousands of deaths. (The exact number is unknown, but is estimated to be between 80,000 and 500,000.) Based on actual events, the movie takes us into Amin's inner circle through the eyes of an outsider who is initially charmed by the charismatic leader until Amin's true nature begins to bubble to the surface.
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Calling a motion picture Loser is a brave move because it places the film in a precarious position if the critical reaction is less enthusiastic than the producers expect. In this case, however, that's not an issue; this movie succeeds in a modest-yet-satisfying way. In fact, it's one of the summer of 2000's few pleasant surprises. The writer/director/co-producer is Amy Heckerling, a woman who, at age 45, still has her hand on the pulse of men and women less than half her age. With Loser, Heckerling has graduated from high school (where two of her previous outings, Fast Times at Ridgemont High and Clueless, were set), but the qualities that make her characters appealing have not been lost in the process.
Spider-Man 2 has all the elements of a good, but not great, superhero motion picture. While lacking the tragic grandeur that made last year's Hulk such a unique experience, Spider-Man 2 fills the void with solid character development, self-referential humor, effects-enhanced action, and (unfortunately) talky pop psychology. A worthy sequel to the 2002 blockbuster, Spider-Man 2 will deposit fans somewhere on the satisfaction spectrum between quietly pleased and overjoyed. Although not as economical with its scenes as the first Spider-Man, this film nevertheless advances the leftover threads from its predecessor, tells its own self-contained tale, and dangles enough bait to hint at where Spider-Man 3 will be heading.
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I Now Pronounce You Chuck and Larry
It would be interesting to know what contribution (if any) credited screenwriter Alexander Payne (Election, Sideways) made to the final draft of I Now Pronounce You Chuck and Larry. Except for the cloying, strident preachiness of the third act, this seems to be a standard issue Adam Sandler outing, with occasional bouts of laughter becoming bogged down by sophomoric jokes that aren't as funny as the production team expected them to be. Perhaps concerned that the overload of gay jokes might offend some audience members, I Now Pronounce You Chuck and Larry turns into a full defense of gay rights and an applause of gay culture, including appearances by Lance Bass and Richard Chamberlain. It's a shock to the system when this example of puerile comedy turns into a pulpit-pounding sermon. The film's sledgehammer approach makes it more immature than earnest.
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Tides of War
In the cold, dark waters off North Korea a U.S. Navy fast attack submarine meets with a mysterious disaster – it’s attacked and nearly sunk by an ominous stealth submarine resulting in the deaths of the Executive Officer and the Engineering Officer.
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Years ago, a mob boss named Lucio Malatesta (George Touliatos) pinned the murder of rival Sammy Carboni (Gino Marrocco) on another rival named Angelo Allieghieri (Anthony Quinn), which led to Sammy's son Gianni vowing revenge.
Frankie Delano (Sylvester Stallone) has spent his life safeguarding Angelo as well as Angelo's daughter, Jennifer Barrett (Madeleine Stowe), whose unsavory husband Kip Barrett (Harry Van Gorkum) has had their young son Rawley (Ezra Perlman) placed in a boarding school against Jennifer's wishes.
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Two friends and convicts, one charismatic (Joe, played by Bruce Willis), the other neurotic and hypochondriac (Terry, played by Billy Bob Thornton), break out of Oregon State Penitentiary in a concrete mixing truck and start a bank robbing spree, hoping to fund a dream they share. They become known as the "Sleepover Bandits" because of their modus operandi: they kidnap the manager of a target bank the night before a planned robbery, then spend the night with the manager's family; early the next morning, they accompany the manager to the bank to get their money. Using dim-witted would-be stunt man Harvey Pollard (Troy Garity) as their getaway driver and lookout, the three successfully pull off a series of robberies that gets them recognition on the FBI's Ten Most Wanted list.
Confessions of a Dangerous Mind
Chuck Barris' (Sam Rockwell) sole purpose through his teenage years (Michael Céra) in Philadelphia concerns promiscuity, but he is unsuccessful. Inspired by a television advertisement, he moves to Manhattan to become an NBC page. He dreams of becoming famous in television, but is eventually fired. Chuck moves back to Philadelphia and becomes Dick Clark's personal assistant on American Bandstand in 1961. There, he writes the successful "Palisades Park" song with Freddy Cannon and falls in love with a woman named Penny Pacino (Drew Barrymore). Chuck is given permission to pitch the concept for The Dating Game at the American Broadcasting Company (ABC); he receives $7,500 to create a television pilot for the studio. However, ABC abandons The Dating Game in favor of Hootenanny. Chuck then struggles with his life and ends up in bar fights. He is noticed by Jim Byrd (George Clooney), a CIA agent who recruits Chuck as an assassin.
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Set at the end of the 60s, as Swaziland is about to receive independence from Great Britain, the film follows the young Ralph Compton, at 12, through his parents traumatic separation, till hes 14. It is written and directed by Richard E Grant, and based on true events from Richard E Grants childhood.
Fools Rush In
Sparks fly and cultures collide in this romantic comedy about a casual night of passion that turns into the love of a lifetime. Alex Whitman is a New Yorker sent to Las Vegas to oversee a construction project. There he meets Isabel Fuentes, and some serious chemistry brings them together for one night. But Alex doesnt see Isabel again until three months later, when he learns she is pregnant. On a whim and prayer, he proposes. However, theres more to marriage than a Vegas chapel and an Elvis impersonator, as Alex and Isabel soon learn.
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Gustav Klimt lived his life like he painted it full of intensity, sensuality and passion. In this biographical fantasy by acclaimed director Ral Ruiz (Time Regained), Klimt (John Malkovich) recalls the decadence of his past in feverish visions from his deathbed. Reflecting on his many torrid affairs and his struggles for artistic freedom, he travels back to the 1900 World Exhibition in Paris. There, Klimt is introduced to a mysterious dancer, Lea de Castro (Saffron Burrows), who emerges as his muse and the personification of his own erotic ideals and carnal desires.