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Keeping in mind that this is a Disney Channel Original Movie, and was not intended as Oscar material, I found this movie very enjoyable.
The plot was actually fairly interesting, several clever twists made it one of the more refreshing made-for-TV, "family" films that I've seen. Aside from the plot, I found the acting in this film better than most of its genre. Although occasionally slapstick, particularly toward the end (what can you expect, it is a DCOM), the acting was generally believable in a crazy/fun sort of way. There was great chemistry between some of the characters as well. I really liked the performances by Osment, Henrie, and Arias.
The Hills Run Red
With the wayward torture genre slowly, but surely, starting to die off – paving the way for slashers to regain their lost stride, The Hills Run Red is a lively reinvention of the genre.
The film, in a way, is similar to Wes Craven's Scream in that it cleverly pokes fun at the conventions and cliches of the genre. Here, our heroes get perfect cell phone reception out in the woods. One character comes prepared – stocked with flares, camping gear and a gun. Our villain doesn't just check a room and trample off to the next. And our heroes make decisions that seem less boneheaded. These are just a few of clever nods to the torture genre, often derogatorily referred to as torture porn. I personally prefer the less-nasty term shock horror, as this is exactly what the filmmakers set out to do – shock you with intense gore and torture.
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What is a studio to do when all sequel possibilities have been exhausted for a brand name that retains name recognition? Why, do a remake, of course! Thus, we have first-time feature director Andrew Douglas' take on the events in late 1975 at 112 Ocean Avenue (or at least the purported events, as related in Jay Anson's bestseller). The good news: the 2005 edition is the best movie to-date to bare the name "Amityville" in the title. The bad news: there's no real competition. The 1979 film of the same name was so awful that it belongs in the guilty pleasure category and the various sequels (some of which were direct-to-video) are among the worst movies ever made.
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The term "grindhouse" refers to a specific type of '60s and '70s exploitation film: the sex-and-gore soaked fare that played in run-down urban cinemas and drive-in theaters. With their consistently poor production values and often horrifically bad direction and acting, grindhouse movies developed a cult following that reveled in such guilty pleasures and accepted them for what they were. Filmmakers Robert Rodriguez and Quentin Tarantino were among the charter members of this fan club and their previous work has been informed to one degree or another by their love of these movies. With Grindhouse, a valentine to exploitation films, it's all out in the open. Depending on your point-of-view, this is either a nostalgic stroll through a cheesy slice of American pop culture or an attempt to provide a tongue-in-cheek reinvigoration of it. Most likely, it's a little of both.
Be Cool, the belated sequel to 1995's Get Shorty, has moments when we think it's going to work. It occasionally tantalizes with witty dialogue and sharp supporting performances. Alas, those are only teases - the film is priming us for something that never happens. Be Cool lacks both a focus and an edge, making it an amorphous mess. It's not as ugly as some of the films I have endured of late, but that's damning with faint praise. Most disappointed will be fans of the first movie, who are left with something that is less a sequel and more an afterthought.
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Requiem for a Dream
Every year, there seems to be one film that kicks you in the stomach and leaves your head reeling. In 1999, it was Tim Roth's profoundly disturbing, unforgettable The War Zone. This year, it's Darren Aronofsky's Requiem for a Dream, one of the most forceful anti-drug narratives ever to be committed to celluloid. To call this movie a cautionary tale would be to apply a label that is too tame -- Requiem for a Dream presents the darkest take imaginable on a story of hopes and dreams shattered by drug addiction. There's no preaching or sermonizing here, just an almost-clinical depiction of lives laid to waste. This is not a film for the weak of mind or soul. Even in the midst of the whirlwind of a film festival, when I was seeing four films a day and the tendency was for everything to blur into a continuum, this one stuck out, demanding attention and rumination. It is a force to be reckoned with.
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Spring, Summer, Fall, Winter... and Spring
Spring Summer Fall Winter...and Spring is a gorgeous motion picture. Using perfectly composed shots to amplify an emotionally resonant story, the film successfully argues that "artistic" films do not have to be boring. Although few in the audience are likely to identify intimately with the characters (Buddhist monks who live in virtual isolation), the movie's themes about the mutability of life and the desire for peace and atonement have universal implications. One can be a New York City Stockbroker or a Salt Lake City teacher and still understand the points being made by Kim Ki-duk's film.
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Ultimately, it's of minor import how much of Rob Roy is based upon historical fact and how much has been embellished by the pen of screenwriter Alan Sharp. As a hero of 18th century Scotland, Robert Roy MacGregor is known to have walked through the mists of the Highlands, living by the code that made his name a legend. This film takes the skeletal myth and builds a real person around those bones. As embodied by Liam Neeson, Rob Roy is a tremendous protagonist -- a naive man whose belief in honor and whose love for a woman, family, and clan make him a figure to cheer for.
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An Ideal Husband is a delightful parfait - an irresistible concoction of brilliant dialogue, sumptuous set design, top-notch acting, and a plot littered with Machiavellian twists. Possessing a light tone tinged with an acerbic accent, An Ideal Husband represents about the best that the motion picture industry can offer. It's an exquisitely crafted movie that can be appreciated from start to finish. Writer/director Oliver Parker (who last reached the screen with his 1996 adaptation of Othello) has taken Oscar Wilde's play and tweaked it in such a way that the playwright's best lines remain intact while the setting has been opened up to offer a fresh perspective.
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Idiots and Angels
Angel is a selfish, abusive, morally bankrupt man who hangs out as his local bar, berating the other patrons. One day, Angel mysteriously wakes up with a pair of wings on his back. The wings make him do good deeds, contrary to his nature. He desperately tries to rid himself of the good wings, but eventually finds himself fighting those who view the wings as their ticket to fame and fortune.
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Ramon the alligator is flushed down the toilet as a baby and grows into a gargantuan monster by eating the corpses of laboratory animals who have undergone dubious hormone experiments, thus providing all the ecological and social subtext that one could possibly wish for, even if one doesnt normally go for films about giant alligators eating people left, right, and center--which is the inevitable and tragic result of Ramons decision that the outside world looks rather more interesting than the sewers....
Dead and Gone
A struggling actor moves his comatose wife to their isolated cabin, where he begins to have disturbing interactions with the unconscious woman.
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Vincent Eastman has to choose between his wife of 16 years, Sally, or his new love, Olivia. Frequent flashbacks explain the background to the marriage and the affair.
The Doyle family moves to rural California to start a new life perhaps a strange choice because their new life takes on the form of running the long abandoned Fowler Brothers Funeral Home. The locals fear the place, and there are whispers around town that the land the home lies on is haunted. The Doyle family will soon discover that something lurks beneath the soil-something that raises rotten corpses from their long forgotten graves and feeds on death itself.
Mortal Kombat: Annihilation
Mortal Kombat is an ancient tournament where the Earth Realm warriors battle against the forces of Outworld. Liu Kang and a few chosen fighters fought and defeated the powerful sorcerer Shang Tsung, their victory would preserve the peace on Earth for one more generation. Taking place now where the first movie left off, the Earth realm warriors live a short period of peace when evil forces from another dimension come to invade and wreak havoc on Earth. They are guided by the forces of Outworld leader, Shao Kahn and his generals such as Motaro, Rain, Ermac, Sheeva and Sindel. Now Liu Kang, Raiden, Jax, Sonya and Kitana must defeat Shao Kahn in six days before the Earth realm merges with the Outworld.
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An all-star cast including Melissa Joan Hart (Sabrina The Teenage Witch), John Terry (TVs Lost, 24) and James C. Victor (TVs 24) triggers top-notch suspense in this gruesome tale of a masked gunman on the prowl. With hoods over their heads, nine handcuffed strangers are about to learn their kidnappers game. They must work together to answer one question Why have they been targeted? One of them will die every 10 minutes unless they can strip away each others secrets to solve this dangerous, twisted puzzle that could leave NINE DEAD
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