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Based on the DC Comics gunslinger, Jonah Hex follows the eponymous scar-faced bounty hunter (Josh Brolin) as he is enlisted by President Ulysses S. Grant (Aidan Quinn) and Lt. Grass (Will Arnett) to track down the terrorist Quentin Turnbull (John Malkovich), a former Confederate officer hellbent on destroying the U.S. government. Hex is already out for revenge against Turnbull for slaying his wife and child and leaving his face grotesquely disfigured. Now he can kick his ass for America, too!
Jonah Hex could have made for a hell of a movie if done well, but instead it turned out to be one hell of a mess. Its notorious reshoots aside, the film's clearly had a tomahawk taken to it in the cutting room resulting in a movie that, at a mere 81 minutes, is the epitome of barebones. This is a movie that apparently lacked a uniform vision from its inception of what it should be tonally. It's part spaghetti western, part supernatural tale, part action film, part black comedy and doesn't quite work as any of them.
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If you like Harrison Ford movies, like I do. And if you like thrillers, like I do. And if you like to sit on the edge of your seat in a movie and root for the good guy, like I really do, then youll probably love FIREWALL.
Sucker Punch is just not a good film. It is an interesting film, it is an original film, and it is definitely a visually stunning film, but it is also a seizure-inducing mess that laughs at the idea of depth and dares you to find anything more to it. At best it can be described as mindless fun, with a heavy emphasis on mindless. By the end of the movie, most will actually walk out of the theater wondering if they missed something—some key element that was deeply buried in the world of the film. Maybe a hidden metaphor, or some allegory. The answer is no, it is just a superficial and soulless two-hour music video directed by a guy that is almost certainly a victim of ADD.
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Director Catherine Breillat is known for her racy and sometimes sexually explicit movies, many of which deal with themes of female empowerment. She has built a reputation in France as a woman for whom no subject is taboo. Her films have depicted full nudity, hardcore experiences (intercourse, fellatio, etc.), and other activities avoided by non-porn filmmakers. Breillat delights in shocking audiences, but perhaps the biggest surprise in store for viewers of The Last Mistress is how relatively tame it is. A costume drama free of many of the director's trademark excesses, this is a study of how sexual obsession can overpower true love. Perhaps it's the lack of sex or perhaps it's the incessant, banal chattering of the characters, but this movie is more likely to inspire sleep than interest. Breillat has done something I never expected from her: made a boring film.
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Cursed is a good title for this film, which has been beset by problems from the outset. The version finally reaching theaters in February of 2005 likely bears little resemblance to what producer/writer Kevin Williamson and director Wes Craven initially envisioned. Both have distanced themselves from the project, which was radically re-edited (with a pair of dull scissors, it seems) to de-gore the R-rated cut into something suitable for PG-13 audiences. And, for a variety of reasons, Cursed has sat on the shelves of Dimension Films, gathering dust until it could be unceremoniously dumped into theaters when no one is looking.
During the summer of 2003, Miramax Films is courting controversy. First, with the release of The Magdalene Sisters, the distributor was accused of being anti-Catholic. Now, with the release of Buffalo Soldiers, the charge is one of being unpatriotic. It's easier to understand the former indictment than the latter one. The Magdalene Sisters is a good movie, but it's not hard to see why some Catholics would be offended by it. Buffalo Soldiers, however, is a dark satire in the same vein as M*A*S*H and Dr. Strangelove, and, just because it offers a negative portrayal of the U.S. military circa 1990, it's hardly fair or reasonable to label it as "anti-American."
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P.S. I Love You
If you want an insightful movie about the grieving process, check out Grace Is Gone, which explores how a suddenly single father must cope not only with the loss of his wife but must face telling his daughters that their mother is not coming home. Grace Is Gone is sincere and touching; P.S. I Love You is the cinematic equivalent of a Celine Dion song. Since there are plenty of people who love Dion's sappy, whiny warbling, there will no doubt be a sizable audience that will fall for the treacle dished out by P.S. I Love You. Aside from the inept August Rush, there probably isn't a more clumsily manipulative motion picture out there this holiday season than P.S. I Love You.
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Suddenly, the "Hong Kong style" is in. Not only are director John Woo and actor Jackie Chan both releasing English-language films early in 1996 (Broken Arrow and Rumble in the Bronx, respectively), but the number of Hong Kong titles obtaining widespread American distribution is on the upswing. Two of those films, Wong Kar-wai's Chungking Express and Fallen Angels, are being released by Miramax under Quentin Tarantino's Rolling Thunder imprint. Depending on how they are received, this could open the floodgates, at least temporarily, since no one knows what will happen to the Hong Kong film industry next year when the country reverts to Chinese rule.
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One of the most popular superhero teams in comic book history finally comes to the screen in this big-budget adaptation of the long-running Marvel Comics series. Psychic Professor Xavier (Patrick Stewart) leads a school of skilled mutants called X-Men, a peacekeeping force to safeguard the world against a race of genetically mutated humans known as Homo Sapiens Superior. However, Magneto (Ian McKellen), a mutant with a powerful magnetic charge, has also begun to organize a team to strike first against what he believes to be a threat from humanity.
I'm sure there will be wags who will glibly compare Cast Away to the likes of "Gilligan's Island" and "Survivor", but, in tone, approach, and overall accomplishment, this atypical Robinson Crusoe tale bears a strong resemblance to one of director Robert Zemeckis' earlier efforts, Contact. No, Cast Away isn't about space or messages from another planet, but, at its core, neither was Contact. Both films ask the same crucial existential question, one that Shakespeare pondered for years: taking all things into account, what does it mean to be human? How do we cope with loss, hopelessness, and isolation, and still find the courage to face the next day? The love and dream of a dead father sustained Jodie Foster's character in Contact. For Tom Hanks' Chuck Noland in Cast Away, it is the promise offered by the smile of his equally absent - and equally beloved - wife-to-be.
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The film begins with a shaggy, candy-loving dog named Dougal trying to get sweets from a candy cart. He goes so far as to place a tack in the road to pop its tire, thinking to be rewarded for watching the cart. After convincing the driver to leave, Dougal is trying to decide which candy he will request when he accidentally starts the cart up again and causes it to collide with the titular magic roundabout at the center of the village. A blue jack-in-the-box-like creature emerges from the top and flies away, snatching a decorative Foot Guard figurine from the roundabout before leaving. The roundabout freezes over, trapping repairman Mr. Rusty, Dougal's young owner Florence, and two other children named Basil and Coral within an icy cell.
The film begins in March 1836 in the Texas town of San Antonio de Bexar, site of the Alamo, where bodies of Texan defenders and Mexican attackers are strewn over the Alamo. The film then flashes back to a year earlier. Sam Houston (Dennis Quaid) attends a party where he tries to persuade people to migrate to Texas. He meets with David Crockett (Billy Bob Thornton), recently defeated for reelection to Congress. Houston explains to Crockett that as an immigrant to Texas, Crockett will receive 640 acres (2.6 km2) [a square mile] of his own choosing. Crockett asks with a grin whether this new republic is going to need a president.
Meanwhile, in San Felipe, Texas, the Texas provisional government is meeting to discuss what course of action to take after the recent capture of the Alamo and Bexar from Mexican forces at the first Battle of San Antonio de Bexar. Texas having rebelled against Mexico and its presidential dictator Santa Anna, who is personally leading an army to retake the Alamo, the War Party calls for the Texas army to depart Bexar, cross into Mexico and confront Mexican forces at the town of Matamoros. The Opposition Party seeks to rebuild the Texan army and establish a permanent government to be recognized by other nations of the world. Sam Houston is voted out as commander of the Texas army. While having drinks with Jim Bowie later, the disgusted Houston tells Bowie to go to San Antonio and destroy the Alamo.
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The film begins immediately where Species II left off. Hours after the events of the previous film, the medical van transporting the lifeless Eve has lost its way but when the co-driver tries to radio their superiors, the driver stops and holds him at gun-point. Both are surprised by the alien child (now called "half-breed") appearing in the back window and killing the co-driver with his tongue. In the back the driver finds the half-breed and a reviving Eve, who goes into labor and gives birth to a newborn alien. While the half-breed strangles Eve with his tongue, the driver wraps the newborn into his jacket and runs off through the forest as a military helicopter finds the deserted van. Government agent Wasach orders an autopsy and afterwards the burning of Eve's body.
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The rural town of Leesburg Georgia holds a dark secret. A century old curse has condemned the citizens to a diet of human flesh. Unable to leave the city limits the town folks must lure unsuspecting travelers to their quaint town where they soon become the menu item of choice. Problems arise when the Federal Government releases a street savvy criminal into their community under the witness relocation program.
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Amid a strict Muslim rearing and a social life hes never had, Tariq (Evan Ross) enters college confused. New peers, family and mentors help him find his place, but the 9-11 attacks force him to face his past and make the biggest decisions of his life.
The films best character is the Cowboy, a sociopath who spends the majority of his time hitting on women in bars by telling horrible stories about slaughterhouses that somehow actually work. Cowboy is pretty hilarious, despite his, uh, amorous exploits with the mentally disabled, which he uses as another pickup line. And it works. Watching him pick up chicks is so awkward, especially since the viewer knows itll end terribly for the women...