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Dead at 17
It’s a sad fact that most of us have lost or will lose a close friend while we are still young. My first childhood casualty happened when I was in sixth grade. A good friend succumbed after a long battle with leukemia and he was gone forever.
That was a bitter medicine when I was a child and it didn’t get any easier to swallow as I got older. Within the first year of my high school graduation I had lost another friend, and then another. Honestly, I don’t even like to think of how many young lives ended too soon, each as tragic and unnecessary as the first. Yet somehow you find the strength to carry on with your own existence, even if you are never quite the same person you were before.
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In all honesty, “Nora Roberts’ Midnight Bayou” is not all that easy to describe, but I’ll give it a shot…
Jerry O’Connell is Declan Fitzpatrick, a Boston attorney who broke up with his fiance and moved to New Orleans to buy Manet Hall, a haunted antebellum mansion that Declan felt a connection to when he visited eight years before.
But soon, Declan is feeling another connection to Lena Simone (Lauren Stamile). But Lena has a stormy past that she can’t seem to shake and even with her grandmother’s (Faye Dunaway) urging, she’s hesitant to start something with Declan.
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1968 Tunnel Rats
The year is 1968 and a new group of recruits have arrived at an isolated U.S. Army camp in the Vietnamese jungle. They will be expected to flush out the enemy from the vast network of tunnels the Viet Cong have created under the ground, but first they have to get used to the terrible food the're expected to eat, and face up to their brutal sergeant (Michael Paré), never mind the possible fate at the hands of the opposing army. The sergeant has ordered a prisoner they have captured to be executed, something the troops have little stomach for, but this is merely part of the ongoing horrors of war...
What's this? An Uwe Boll film not based on a computer game? Yes, it's true, for this was a Vietnam War movie based on a story by Boll's regular producer Dan Clarke, although scripted by the notorious co-producer and director. In essence this was his version of Platoon, and looks very similar to that spate of eighties works on this subject, with plentiful swearing, bloody death and a supposedly clear-eyed and regretful look at the conflict. Funny thing with this is that although we get a fairly good idea of the camp and the tunnels, you're less convinced that there is any extensive combat going on elsewhere.
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A struggling writer unlocks the full potential of his brain by taking a cutting-edge pharmaceutical, only to find that his newfound abilities have made him a target for some of the most greedy and dangerous men on the planet. Eddie Morra (Bradley Cooper) is an author without a novel. No matter how hard he tries, he just can't summon the inspiration to write a single word.
Never Back Down
Strictly speaking, Never Back Down is not a remake, but it might as well be. The premise is familiar: underdog achieves self respect through training with a master then puts it all together for the big fight. Like a pop song suffering from overplay, Never Back Down hits all the expected notes but feels tired and stirs no emotion. When one considers where Million Dollar Baby took this concept, it becomes all the more depressing how little creativity exists in Never Back Down's DNA. There's no reason to see this film - everyone in the audience knows not only what the starting and finishing points are but the trajectory that will propel events from one to the other. Those with a craving for the story would be better off re-watching The Karate Kid than enduring this lackluster re-telling.
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13 Going on 30
There's something irresistible about a displaced consciousness story, whether it's an adult occupying the body of a child, a child occupying the body of an adult, or a gender switch. 13 Going on 30 belongs to the same sub-genre as Big, although many of the particulars are different. As films of this sort go, this one is solidly entertaining. It requires that the viewer exhibit a fair amount of willing suspension of disbelief, but buying into the essential premise is more than half the battle. Accept the magic that transports the mind of a 13-year old girl into the future body of her 30-year old self, and little else that director Gary Winick throws out will be difficult to swallow.
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Bad News Bears
Bad News Bears may be the most entertaining remake of the year (thus far), but that's less a statement of praise than it is a condemnation of this class of movies. With a script co-credited to Bill Lancaster, who penned the original 1976 screenplay, Bad News Bears is true to its source, rarely diverging from the earlier film's storyline, and occasionally re-creating entire scenes. There is, however, a difference in tone. The '70s edition of the film was more family friendly than Richard Linklater's one. Gleefully profane and un-PC, Bad News Bears earns its PG-13 rating, and may cause more conservative parents to shy away from bringing younger children to screenings.
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In a small fishing village in Japan, 5-year-old Sosuke finds a goldfish stuck in a glass jar. After freeing it, he takes it home and names it Ponyo. But he soon discovers that Ponyo is more than she seems. She's actually the daughter of sea goddess Gran Mamare and Fujimoto, a former human that magically creates sea life.
Now that Ponyo has had a taste of life on land, she's determined to become human. Unfortunately, her wish turns the small fishing village upside down when her magical powers run amok. It's soon up to Sosuke to restore balance to nature and determine if Ponyo will get her wish.
"Ponyo" is rated G.
In my review of Woody Allen's previous misfire, Melinda and Melinda, I wrote the following: "Lately, Allen's films have sunk into a state of heightened mediocrity - sporadically entertaining, but often disappointing, at least for those clinging to the hope that Allen will return to 'form.' I no longer expect great things from a Woody Allen movie…" Indeed, it has been over a decade since Allen has produced a memorable motion picture. Match Point puts an end to the drought, and does so in an impressive and unexpected fashion. Not only could one argue that this is the best "serious" work the director has ever attempted, but it's presented in a way that even the most seasoned Allen fan will have difficulty recognizing the iconic filmmaker's fingerprints.
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Hurlyburly is a talky film - the entire movie is constructed around lengthy sequences of dialogue where the characters talk and talk and talk, often saying nothing. However, because the vocal rhythms are so perfect, the words are so well-chosen, and the performances are so powerful, listening to so much talk is a pleasure, not a chore. It's possible to lose oneself in Hurlyburly, precisely because nearly every line has a hypnotic quality. The action and suspense is in the words, not the deeds. We don't wait to see what the characters will do next, we wait to hear what they will say next.
On Deadly Ground
Steven Seagal, the exceedingly bankable action-movie star and exceedingly limited actor, wanted to direct. He wanted to express his profound conviction that the environment and the spiritually advanced tribes of Alaska are good, and pollution and the spiritually bankrupt oil companies of the lower 48 are bad. Warner Bros., the studio that has made a zillion dollars off Seagal in such spirituality-lite head-busters as Above the Law, Hard to Kill, and, most recently and successfully, Under Siege, wanted its star to be happy.
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The film begins with a man trying to escape through the forest from the pursuing knight. Just as the knight catches him and hits him with the sword the man disappears. Soon after that the man is discovered barely alive in the middle of the desert, only able to tell a single word - Castlegard. He dies shortly after being transferred to the hospital. One of the physicians discovers a pendant around his neck with the ITC Corp. label. The X-ray photos show many internal organs, veins and bones are out of alignment for an unknown reason. Soon after that an ITC Corp. employee shows up and identifies the dead man as Vincent Taub. He picks up his body and the company decides to cover up the incident.
She Hate Me
John Henry "Jack" Armstrong (Anthony Mackie) is a financially successful and upwardly mobile executive at a biotechnology firm who, following the suicide of a colleague, Dr. Herman Schiller, is falsely accused of securities fraud by his superior, Leland Powell (Woody Harrelson). Armstrong's assets are frozen, and he finds himself unable to maintain his quality of life.
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Globe-trotting Christine wakes up one ordinary day to find that her biological clock has gone off with a vengeance. But for a commitment-phobe on the wrong side of 40, the road to motherhood is strewn with bedlam, calamity and smoked out eggs. When she turns to her life long friends Margo and Mikki for support, she finds them equally embattled Margo zealously guarding the door to her recently emptied nest, and Mikki frantically fighting her evil twin foes Sagging and Drooping. Collectively, however, the girls are a force to be reckoned with, so together they take on the might of Mother Nature with hilarious results.
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Julie Walking Home aka The Healer
Her son dying of cancer and her marriage falling apart, Julie flees to Poland in search of a man who can heal using his hands. Julie finds not only a magical cure for her son, but also comes across a love so pure it begins to heal the aching in her heart.
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Little Miss Magic
Lots of humor (but perhaps too much slap-stick). Little Miss Magic is agreat movie for kids who dream of having magical powers. You can tellthatthis movie did not have a high budget, but my kids really likedit.
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