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The Goods: Live Hard, Sell Hard
At one point during “The Goods: Live Hard, Sell Hard,” a grubby-looking comedy about the art of the sale, two alligators crawl across a car lot. Who brought the alligators? a bewildered man asks. We’re the only ones who can hear his question amid the shrieks of the customers and salesmen and the whir of a buzz saw that brings a guy on stilts and in an Uncle Sam costume down to size. From one angle this frenzied moment looks like a metaphor for the American auto industry, but it’s just a throwaway in a comedy without a shred of obvious filmmaking and an endless stream of good, bad, sometimes terrible, often absurd jokes.
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(500) Days of Summer
Early in “(500) Days of Summer” the omniscient narrator who intermittently (and somewhat annoyingly) comments on the action cautions that the movie is “not a love story.” The print advertisements qualify his words, describing this slight, charming and refreshingly candid little picture as “a story about love.” Which it is: a story about how love can be confusing, contingent and asymmetrical, and about how love can fail. Given all this, it’s somewhat remarkable that “(500) Days,” the feature directing debut of the music video auteur Marc Webb, is neither depressing nor French.
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For any horror film to be truly seminal within the genre, it first has to strike the proper balance between a number of very key ingredients: story, character, style, gore, suspense, performance… The best horror films – The Exorcist, for example – master this complex recipe, including just enough of each element in relative proportion to the others. Horror is also tremendously cyclical – rotating between its country of origin (such as America or Japan), its style of villain (serial killer or supernatural force) and its selection of sub-genre (dramatic terror to gore-porn splatter-fest).
After winning top honors at the Venice Film Festival, Darren Aronofsky's The Wrestler rapidly became the must-see of the Toronto International Film Festival, with huge lines at the press and industry screening this afternoon seemingly unaffected by the news that Fox Searchlight had purchased the film. After seeing The Wrestler for myself, I feel the need to extend a note of caution about the film, which sailed into Toronto buoyed by advance raves for Mickey Rourke's performance as Randy "The Ram" Robinson, a low-level professional wrestler -- and we soon see how really, both those words could be in quotation marks -- whose '80s glory days are long over, scraping by at low-level, low-paying matches until a heart attack forces him to leave the ring and look at his life in the shadow of death. Many have already written about the parallels between Mickey Rourke and the swaggering, scarred wrestler he plays -- early success, fame and notoriety, a series of mis-steps and mistakes taking it all away bit by bit as the years advanced -- and the charge Rourke's own rise and fall offers a filmmaker like Aaronofsky looking to explore ruin and redemption.
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Cool concept and stylish visuals aside, "Pathfinder" isn't strong enough to offer the type of prolonged escapism that one might expect from a movie that pits Vikings against Indians.
Stop me if you've already heard the story about the commercial director who had a huge hit with a horror remake and followed it by making a historic battle epic pitting two very different people in a visually stylish blood-splattering movie tied into a graphic novel. If you guessed that we're referring to Zack "300" Snyder than you'd be wrong. Instead, "Pathfinder" is the new movie from Marcus Nispel, who started a trend with his 2003 remake of "The Texas Chainsaw Massacre" and came up with such a cool concept for its follow-up that it would only require three words to get most guys' immediate interest: "Vikings vs. Indians."
True, it's an exciting idea for an action movie, but as we quickly learn, it's not one that's able to sustain itself for an entire feature film, since there's only so much that can be done with the concept before things start getting dull. At first, it might not seem like a very fair battle as the movie's Indian stereotypes, who we see smoking peace pipes and dancing around the fire, are forced to face barbaric Norse Gods whose savage brutality seems unstoppable. The opening credits gives us a glimpse of some of their horrifying acts, followed by a sequence in which an Indian woman finds an abandoned boy amidst a Viking shipwreck. Her tribe takes the boy in and raises him as Ghost (Karl Urban), a white-skinned outsider trying to find his true calling, but never being fully accepted in the tribe. When another band of Vikings arrive and pillage his village, Ghost gets his chance to save other tribes from a similar fate, taking on the Vikings with the help of his beloved, played by Moon Bloodgood, while being forced to confront his own dual nature.
Under normal circumstances, Zoolander is the kind of movie I would recommend giving a pass to in theaters and waiting for the video release. But these are far from normal circumstances. In the wake of the World Trade Center disaster, audiences are looking for distractions, so anything that offers opportunities for laughter, no matter how uneven or scattered those opportunities may be, cannot be immediately dismissed. Thus it is for Zoolander. This is by no means a great (or even a very good) comedy, but there are times when it tickles the funny bone, and, for that reason if no other, it may be the right film for this time.
The film takes place in 2000 in the fictional town of Spurbury, Vermont, near the Canadian border. The plot centers on five Vermont state troopers who seem to have more of a knack for pranks than actual police work. The experienced troopers, Thorn, Mac, and Foster, spend most of their time devising new ways of messing with the heads of the people they pull over and hazing the new recruit, "Rabbit". They also find time to torment their easily infuriated radio dispatcher, Rodney Farva, who has been exiled from patrol work because he was involved in a fight with several students during a (potentially questionable and dubious) traffic stop of a schoolbus, which is later revealed during the credits. Their days of pranking and slacking off are cut short when the troopers suddenly find themselves trying to avoid having their post eliminated by the state's impending budget cut — resulting in their transfer, or quitting and opening up a roller disco.
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College Road Trip
The film is about Melanie Porter (Raven-Symoné), a 17-year-old college-bound girl who is getting ready to graduate from high school and really wants to go to Georgetown University. However, her father James Porter (Martin Lawrence), the chief of police in the quiet Chicago suburb where they live, is overprotective of Melanie, and isn't ready for her to leave and study so far away from home. Chief Porter has other plans for Melanie; he wants her to go to Northwestern University which is only 28 minutes away from home. Porter also receives problems from disagreements with his real estate agent wife, Michelle (Kym E. Whitley), the family pig Albert, who continuously annoys him, and his youngest son Trey, who spends much time with the pig. Melanie gets invited to an interview at Georgetown after a college recruiter saw her performance at a mock trial. Her two best friends, Nancy (Brenda Song) and Katie (Margo Harshman), offer to take her on their college road trip to Pittsburgh. Melanie is all set to go with her friends until her father surprises her with his own college road trip to Washington, D.C..
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Embrace the Darkness II
A sultry vampire acts as mentor to a reluctant recruit.
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Home Alone 4
Peter is about to get divorced from Kate and announces that he's living with his new girlfriend, Natalie. He tells his three children, including Kevin, that they are hosting the visit of a royal family and invites everyone to spend Christmas with him and Natalie. After initially refusing, Kevin takes his father up on his offer after being tormented by his older brother Buzz.
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Erik Ponti is a fifteen year old living with his mother and stepfather. At home, his sadistic stepfather beats him for even the most minute infractions. His docile mother ignores her husband's sadistic nature and allows the violence to proceed. At school, Erik is violent and frequently engages in fights, as a result of his violent upbringing. After a particularly vicious fight, Erik is expelled. The headmaster labels him vicious and accuses him of being pure evil. In an attempt to provide her son with a fresh start he sorely needs, his mother sells of some of her possessions and sends Erik to a boarding school.
It's a Free World..
Angie (Kierston Wareing), a young woman frustrated after being fired from her thirtieth dead-end job, decides to set up a recruitment agency of her own, running it from her kitchen with her friend and flatmate Rose (Juliet Ellis). Angie is able to build a successful business, while also dealing with a neglected son who gets in trouble at school and parents who disapprove of her venture. She also has to keep reassuring Rose that they will become legitimate once the business is on a firm financial footing - they do not have a licence, but Angie at least insists on only hiring workers with papers, not illegal immigrants.
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My Lucky Stars 2: Twinkle Twinkle Lucky Stars
A police informant sent a letter containing sensitive information on an illegal drug operation to his friend, Yi-Ching. While on vacation in Thailand, the informant is assassinated by the drug lords henchmen and, to cover-up their operation, they attempt to eliminate Yi-Ching and double-agent Lau. Back in Hong Kong, police detectives Muscles and Ricky Fung are assigned to protect Lau and Inspector Barbara Woo is assigned to protect Yi-Ching. She takes her to the hideout of the Five Lucky Stars and also enlists their help in bringing down the drug operation.
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Pat Riley, an obnoxious busybody of undeterminable sex, meets and falls in love with Chris, a sensitive, caring person also of undeterminable sex. Their relationship suffers because Pats a lout, and cannot decide on a direction for its life. Meanwhile, Pats neighbor Kyle falls further and further into obsession with Pat, fascinated by its indeterminate sexuality.
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My One and Only
Oscar-Winner Rene Zellweger shines as a Southern belle turned New York socialite who leaves her philandering husband and heads out on the road with her two teenage sons to find a new man. Based on the true-life childhood experiences of actor George Hamilton, this hilarious, heart-warming film features an all-star cast including Kevin Bacon (Mystic River), Chris Noth (TVs Sex And The City), Eric McCormack (TVs Will Grace), and Steve Weber (TVs Wings). When Anne Deveraux (Zellweger) finds her bandleader husband Dan (Bacon) in bed with another woman, she packs her bags, empties the cash drawer, buys a baby blue Cadillac convertible and begins a cross-country trek with her sons. From Boston to Pittsburgh, St. Louis, Albuquerque and finally Hollywood, her search for a new life continues to turn up short. But the richness of coming to really know her sons - Robbie, who dreams of a life on stage, and George, a cynical, would-be writer who hopes this journey will lead back home (and soon!) - makes their harrowing adventure on Americas highways among the most worthwhile undertakings of their lives.
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