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Apartment stager Anna Brady (Amy Adams) is so frustrated that her longtime cardiologist boyfriend Jeremy (Adam Scott) still hasn't popped the question that she falls for an old Irish legend that claims if a woman proposes to a man during a leap year (on February 29th) then he must accept. Anna secretly follows Jeremy to Ireland where he's attending a conference, but subsequently learns that the luck of the Irish is not all good.
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There Will Be Blood
The voice of the oil man sounds made of oil, gristle and syrup. It is deep and reassuring, absolutely sure of itself, and curiously fraudulent. No man who sounds this forthright can be other than a liar. His name is Daniel Plainview, and he must have given the name to himself as a private joke, for little that he does is as it seems. In Paul Thomas Anderson's brutal, driving epic "There Will Be Blood," he begins by trying to wrest silver from the earth with a pick and shovel, and ends by extracting countless barrels of oil whose wealth he keeps all for himself. Daniel Day-Lewis makes him a great oversize monster who hates all men, including therefore himself.
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In the screwed-up summer diversion Hancock, Will Smith plays a disheveled, hard-drinking, Los Angeles-based superhero referred to on the street by cute kids and peaceful oldies alike as an a--hole. The designation is a punch line in itself, uttered throughout the movie with a glee that challenges profanity conventions in a mainstream publication, since one of the feats Smith sets for himself in his latest attempt at Fourth of July box office superheroism is to apply his kryptonite-resistant personal likability to a character who is, at first glance, a real schmuck. After some sort of accident, the reluctant crimestopper doesn't know who he is or why he's in L.A. (hence the generic name John Hancock); he just knows he possesses otherworldly talents for flying and hurling automobiles, among other attributes useful for surviving in the City of Angels. And at first close encounter, he's an alcohol-soaked curmudgeon with a bum's wardrobe and a really bad attitude. Even those he saves wish he would go be a hero somewhere else.
Nick and Norah's Infinite Playlist
Nick and Norah have the kind of lives any suburban teenager would envy-- for one night, at least. Wandering from dingy club to slightly dingier club, across what remains of Manhattan's gritty East Village, the two wax poetic about their favorite bands, engage in the usual battle of the sexes and, what would you know, fall in love. Nick and Norah's Infinite Playlist, based on the popular young adult novel of the same name, is a surprisingly timeless story given its hip trappings, and will enthrall teen viewers who imagine such a adventurous, music-fueled life for themselves.
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Streets of Blood
Streets of Blood is as ridiculous as it sounds. The DVD box reads, 'The Big Easy is losing the fight,' but it should say, 'The Bad Movie is killing the audience.' Here is a direct-to-video Festival of the Absurd so over-the-top, so incompetently made, so lacking in decent taste and common sense that the only thing missing to keep it from late-night Skinemax is a couple of sleazy softcore sex scenes. Sure, the film loves gratuitous jiggle shots, but they are not nearly long-winded enough to make the grade. Sad, since that is the only vein in which a movie like this could be deemed remotely successful.
At first the movie simply seems outdated, since it takes place in the immediate aftermath of Hurricane Katrina in New Orleans. But we soon forget that simple fact once we realize that the setting is merely tertiary, and the story being told within that setting makes so little sense that it might as well take place in Lizard Lick, NC. Streets of Blood has literally nothing to do with New Orleans other than its characters' strained Creole accents and the occasional second-unit close-up of a Big Easy street sign that cuts away to transparent, poorly-lit sound stages.
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Dr. Dolittle 2
About the most positive comment I can offer about Dr. Dolittle 2 is that it's not as painful to endure as its 1998 predecessor, Dr. Dolittle. Unlike the earlier Eddie Murphy effort about the M.D. who can talk with animals, the second installment makes no pretense of being family-oriented entertainment - this is kids-only fare (hence, the PG-rating). Potentially audience members over the age of 12 won't find much to laugh at or be amused by in this by-the-numbers comedy that uses sledgehammer tactics to convey its politically correct message. Of course, to balance out the film's social conscience, there has to be one gross-out scene - in this case, it involves a bear with flatulence.
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The Producers is a movie based on a play based on a movie about a play. And that's probably the funniest thing about it.
In 1968, Mel Brooks made his big-screen directorial and writing debut with The Producers, a slapstick farce about how two Broadway producers concoct a scheme to get rich by making the worst play in the history of the Great White Way. Predictably, what should be a colossal failure turns out to be a smash hit. Despite a delightfully wicked premise and a couple of delicious lines, The Producers is not on par with Brooks' other early films. It's not consistently clever or funny, and there are long, tedious stretches when one obvious joke after another falls flat. Brooks would hit his stride six years later with Blazing Saddles and Young Frankenstein. The Producers shows little of the humor evident in those (and other) movies.
Layer Cake is the latest in the recent cluster of British gangster/caper films begun by Guy Ritchie's Lock, Stock and Two Smoking Barrels. Matthew Vaughn, the director and co-producer of Layer Cake, held the producing credit for Lock and Ritchie's follow-up, Snatch. As such, it's no surprise that Layer Cake borrows aspects of the "feel" of those films. There's the same morbid sense of black humor, although Layer Cake is more character driven and less gruesome than the earlier productions. And, for pure shock value, it contains a "didn't see that one coming" moment unlike anything in either of Ritchie's ventures into this genre.
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At the age of 26, Ramon Sampedro misjudged the depth of water he was diving into and broke his neck. For the next 29 years, he lived the life of a quadriplegic - one that he considered not worth living. Despite having lost the use of his body below the neck, he still had a voice and a mind, and he put both of those to use, waging a one-man war for the right to die: his right to die. In one impassioned statement, he wrote the following: "I... think that living is a right, not an obligation. Nevertheless, I have been obligated to tolerate this pitiful situation…" He was a tireless soldier in this battle, but, because of the forces allied against him - religious leaders, conservative activists, and even his own brother - the conflict seemed hopeless. Since he could not accomplish the deed on his own, he needed the help of others. However, the law would prosecute accomplices for aiding him, and Ramon was unwilling to subject another to such a penalty, so he was trapped.
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The Ghost and the Darkness
In 1898, Sir Robert Beaumont (Tom Wilkinson), the primary financier of a railroad project in Tsavo, Kenya, is furious because the project is running behind schedule. He seeks out the expertise of John Henry Patterson (Val Kilmer), a military engineer, to get the project back on track. Patterson travels by train to Tsavo, where he meets supervisors Angus Starling (Brian McCardie) and Samuel (John Kani), a native African (and the film's narrator), and the doctor, David Hawthorne (Bernard Hill). Hawthorne tells Patterson of a recent lion attack. That night, Patterson kills an approaching lion with one shot, earning the respect of the workmen. The project gets back on schedule. However, not long afterwards Mahina (Henry Cele), the construction foreman, is dragged from his tent in the middle of the night. His half-eaten body is found the next morning. Patterson then attempts a second night-time lion hunt, but the next morning another worker is found dead at the opposite end of the camp from Patterson's position.
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Once in a Lifetime
All the romance and melodrama associated with the name of Danielle Steel is present in this adaptation of her novel ONCE IN A LIFETIME. Lindsay Wagner plays Daphne Fields, who lies in a hospital bed recalling the moments of her life that led her to such a state. While happily married, her husband and daughter are tragically killed in a house fire, leaving the pregnant Daphne alone.
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Twenty five years ago, the SS Corona Queen disappeared in the region known as, The Bermuda Triangle. Now, it has returned. Seven people go on board to learn the truth behind her disappearance but the ship did not return alone...
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Methodic tells the story of a boy who becomes demonically possessed by an ominous presence known as The Dollman. Forced to obey his dark half, the boy ultimately murders his parents on his birthday and is sentenced to a life under a microscope at the state mental hospital. But evil cannot be contained so easily. Instead, The Dollman simply bides his time, dwelling within the boy- waiting for the day when he will become powerful enough to completely take over his human host. And when that day comes, god help us all.
Clark Kellogg is a young man starting his first year at film school in New York City. After a small time crook steals all his belongings, Clark meets Carmine Jimmy the Toucan Sabatini, an importer bearing a startling resemblance to a certain cinematic godfather. When Sabatini makes Clark an offer he cant refuse, he finds himself caught up in a caper involving endangered species and fine dining.
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Love in the Nick of Tyme
Sexy salon owner Tyme Prentice (Terry Dexter) has a problem that any woman would envy choosing between her on-again off-again boyfriend, jazz musician Marcelles Wynters (Morris Chestnut) and the handsome and charming neighborhood UPS man, Harvey (played masterfully by newcomer Andre Pitre). RB star Avant, American Idol finalist, Trenyce Cobbins, actress Ellia English(The Jaime Foxx Show, Curb Your Enthusiasm), and C.O.C.O. Brown round out this stellar cast. With show-stopping new music by RB songstress Vivian Green, this magical production is entertainment at its finest. For a fun-filled evening of laughter and romance, make time for David E. Talberts Love In The Nick Of Tyme.
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Masked and Anonymous
Against the backdrop of a nation on the brink of revolution, Uncle Sweetheart (John Goodman) and Nina Veronica (Jessica Lange) are slimy promoters planning a benefit concert. They desire the services of legendary singer Jack Fate (Bob Dylan), and soon Fate is sprung from jail. A rock journalist (played by Jeff Bridges) investigates the concert, attempting to determine just who will benefit. Revolution may be raging outside the arena, but Jack Fate and the benefit concert play on as planned.
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