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Wall Street: Money Never Sleeps
Wall Street: Money Never Sleeps, the sequel to the 1987 classic Wall Street, opens just weeks after the 9/11 attacks when disgraced former business icon Gordon Gekko (once again played by Oscar winner Michael Douglas) is released from prison after an eight-year stretch. He is alone, a relic of a bygone era with only an outdated mobile phone, a book manuscript he's written and whatever else he had on him when incarcerated to start his life over with. He is at rock bottom, but if there's one thing Gekko is it's a beast with keen survival instincts.
Flash forward to autumn 2008 when the worldwide financial markets are in free fall, stimulus packages and federal bailouts of Wall Street firms are all the rage, and America's elected its first black President. It's in this tumultuous environment that we meet idealistic young trader Jacob Moore (Shia LaBeouf) as his firm teeters on the brink of ruin and so does his shattered mentor and father figure, Louis Zabel (Frank Langella). When a rival of Zabel's, hot shot Bretton James (Josh Brolin), buys out Zabel's once-prestigious firm for a fraction of its worth, a tragedy ensues that motivates Jacob to seek revenge against Bretton.
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All About Steve
Sandra Bullock may yet be one of our great living movie stars, capable of stealing just about any scene from any other actor. If only she could just find her place. Her role as the woman who winds up driving the bus in Speed was the breakout performance of a lifetime. In one scene, the bus approaches a lady crossing the street pushing a baby carriage. There's nothing anyone can do, so Sandra just screams and covers her eyes. The baby carriage goes flying, and -- not a baby -- but empty cans go flying and rattling all over, with the angry woman shaking her fist at the departing bus. Keanu Reeves tries to calm Sandra down by explaining that it was just cans. Her hysteria lasts a few more seconds, but it's so over-the-top utterly charming that Keanu can't help but smile at her. I've always suspected that that was a genuine smile from Keanu, not in character, and that director Jan de Bont just left it in.
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The Good Shepherd
Superhero fans have got it made these days: You want dark and gloomy, you head for the newest Batman movie. You crave earnest and wholesome, you pick one of the three Spider-Man flicks. Whatever mood you happen to be in, there's now a superhero movie (or series) to pick through: Hulk, Daredevil, Hellboy, Superman, Ghost Rider, you name it. Just about all the classic superheroes are now available in cinematic form, some good and some bad, some "dark and gloomy" and others all "touchy feely" ... but where's the "family friendly" superhero movie? The one that doesn't deal with tortured psyches, metaphysical angst or some form of anguished misery? Well heck, here's one: It's called Fantastic Four: Rise of the Silver Surfer, and while it's often a pretty goofy little movie, it's also a perfect flick for young dads and their 9-year-old sons.
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You’d think that a horror film that takes a good hour before anything actually happens would have something truly great up its sleeve to surprise us at the moment we think there's no hope of recovery. Well, even though Outpost does kick it up a notch as far as eventfulness is concerned in the last half hour, it’s just not anywhere near good enough to justify us sitting through its long, event-less first section.
Untraceable engenders a reaction that is one part fascination, one part disappointment, and two parts frustration. The film, which has the ingredients for a thoughtful, tense thriller throws away a compelling first half so it can descend into silliness and clichés. For a movie that works overtime to establish credibility during its first half-hour, Untraceable leaves no predictable, formulaic stone unturned in its rush to a jaw-droppingly stupid conclusion. It's almost as if the filmmakers who made the first two acts were replaced by Uwe Boll collaborators for the final 40 minutes. Then again, it's possible to believe this of director Gregory Hoblit, who achieved something not dissimilar with his previous feature, Fracture.
Without a doubt, the majority of the reviews of Amores Perros, the acclaimed debut feature from Mexican filmmaker Alejandro González Iñárritu, will, at one time or another, invoke Pulp Fiction. There are undeniable similarities, although most of them are at the surface level. Amores Perros, like Quentin Tarantino's Oscar-nominated opus, deals with men and women who live on the seedy side of life. The plot unravels episodically and in a non-linear fashion, with characters from one segment occasionally appearing in, or passing through, another. However, one of Pulp Fiction's trademarks was to glamorize the gangster - to make the traditional "bad guy" seem hip and interesting. This was done through clever dialogue and stylish filmmaking techniques. In Amores Perros, criminals are not romanticized. They are exposed for what they are - human beings whose moral compasses have become twisted. So, although the territory may be familiar to viewers of Pulp Fiction, the vantage point is radically different.
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Meet the Robinsons
It's tempting to label Meet the Robinsons as just another in a long line of recent computer animated kid-traps, but it deserves a more upbeat description. Thankfully, we're not subjected to the new staple of the big-screen cartoon - anthropomorphized animals are kept to a minimum (a few genetically engineered frogs and a T-Rex). I'm tired of talking bears and singing donkeys. It goes without saying that children will enjoy the movie (this is a blanket statement that applies to anything except the worst animation), but there's enough of a storyline to keep adults from dozing off. No one is going to mistake Meet the Robinsons for any of the great Disney/Pixar releases from the 1995-2004 decade but as an early spring 2007 offering, it's better than merely acceptable.
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Monster-in-Law is appalling misfire of a comedy - a motion picture that takes a situation ripe for the blackest vein of satire and reduces it to a puerile and edgeless pile of goo. Forgive me for a moment if I bemoan the lost potential here. Give a project like this to Danny DeVito, whose War of the Roses existed in not dissimilar territory, and the possibilities are endless. But with Robert Luketic at the helm, the experience of viewing this movie represents a one-way ticket into tedium and a forced 90-minute imprisonment with Jennifer Lopez and Jane Fonda, both of whom give performances that can charitably be called cringe-inducing.
Here's something to chew on: what's the favorite food of big, cheesy-looking special effects monsters like the one lurking in the bowels of a luxury liner in Deep Rising? The obvious answer to this question is cardboard, because that's the depth of the most fully-developed character in this painfully generic creature feature. Deep Rising demonstrates all the originality and vitality of something scripted by a computer. In fact, considering the rigid adherence to the expected formulas, perhaps it was.
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Price above Rubies
A Price Above Rubies is writer/director Boaz Yakin's follow-up to his highly-regarded, tautly-paced 1994 picture, Fresh. Sadly, little of the energy and intelligence of the earlier film is evident in this, an overwrought melodrama populated by stereotypes and featuring an improbable storyline that relies upon a string of coincidences. Ostensibly, A Price Above Rubies details the struggle of one woman to throw off the shackles of a conservative society, but the manner in which Yakin approaches this theme is preachy, pedantic, and predictable.
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Coming home from combat can be a tough transition. Highly trained and fresh from an Iraqi battle zone, John Triton (John Cena) has been discharged after disobeying orders when he single-handedly rescued three fellow officers from an Al Qaeda terrorist group. Now the war vet is stuck behind a desk working as a security guard in a large office building.
However, his cushy civilian life takes a turn when a gang of trigger-happy jewel thieves kidnaps his wife Kate (Kelly Carlson) during a gas station stop. While the fueling station burns in the background, John pulls an injured state patrolman out of his cruiser and heads after the escaping criminals.
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My Baby's Daddy
Childhood friends Lonnie (Eddie Griffin), Dominic (Michael Imperioli), and G (Anthony Anderson) have a rude awakening when they find out their girlfriends are pregnant.
Each have their own unique set of problems; Lonnie's girlfriend is more interested in partying than being a mother; Dominic discovers that his girlfriend is a lesbian and has fallen in love with her midwife; while G, an aspiring boxer, is unable to fully commit to his girlfriend.
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Robert Rath (Stallone) is a paid assassin who wants nothing more than to get out of 'the business', haunted by the memory of murdering his own mentor Nicolai years ago. Rath is a quiet, morose professional who is on an assignment to kill someone when someone else gets to the 'mark' (the target) before he does. That person turns out to be Miguel Bain (Banderas), a fellow assassin and a competitive psychopath. Rath then has the trouble of trying to figure out who sent Bain, the contractor offers him one last job that could financially allow him to retire - killing the four Dutch buyers and the computer hacker named Electra (Moore) and retrieve a disk that contains sensitive information. Electra has set up cameras in all the rooms of the apartment block where she lives and watches them like watching television.
The problem is that Bain is assigned to kill Electra as well. Bain kills the four Dutch buyers which turn out to be Interpol agents and Rath comes to kill Electra but for the first time has a change of heart. His pay for the job is given to him in a briefcase in exchange for the disk. The briefcase actually contains a bomb placed by his own contractor in an attempt to kill him. Luckily Electra had swapped the disk, not sure if Rath was coming back or not. Then the contractor hires Bain to terminate him. Now having become a target along with Electra he must try and extract enough money out of his contractor so he can disappear for good, while avoiding the bloodthirsty Bain. Rath's contractor turns out to be none other than Nicolai himself. He hired both Rath and Bain to track down Electra and the disk.
A teen faces her impending adulthood in the carefree sex and drug revolution years of the early 80s prior to fears of AIDS. She lives with her bitter, divorced mother and her sadistic kid brother. Looking forward to a life based on her passion for art, she nevertheless gets in with the partying crowd which causes her to miss deadlines and poor grades which jeapordizes her future. Ultimately she ends up losing her virginity to an older artist wanna-be who she has had a long standing crush on.
The Family Man
Jack Campbell is a single, wealthy Wall Street Executive living the high life in New York City. He is in the midst of putting together a billion dollar merger and has ordered an emergency meeting on Christmas day to ensure its success. Family clearly has no meaning for him. In his office on Christmas Eve, he is surprised to hear that his former girlfriend, Kate, tried to call him after many years. After reminiscing a bit, he walks into a convenience store where a lottery contestant, Cash, barges in saying that he has a winning ticket. The store clerk believes that Cash is lying and refuses to give him his winnings. Cash pulls out a gun and is about to shoot the clerk before Jack offers to buy the ticket from him, thus averting disaster. He and Cash settle their business deal outside and he arrogantly offers to help Cash before going to sleep in his penthouse.
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Three more stories told from a comic book are presented by the Creep. The first is about a dime-store Native American that seeks vengeance on those who killed the stores owners. The second is about a carnivorous mass of pond scum that attacks four people on a raft. The final tale is about a rich woman who accidentally kills a hitchhiker while speeding home from an affair with a male prostitute.
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