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Nowhere Boy chronicles the formative teenage years in the life of future Beatle John Lennon (played here by Kick-Ass star Aaron Johnson). Set entirely in mid-'50s Liverpool, the film (directed by Johnson's off-screen baby mama, Sam Taylor-Wood) recounts John's relationships with the two most important women in his young life: his prim and proper aunt Mimi (Kristin Scott Thomas), who raised him, and his free-spirited, prodigal mother Julia (Anne-Marie Duff). The influence of these two very different women, along with John's newfound interest in the burgeoning music known as rock n' roll, would have a fateful impact on the rest of his life, his art and the world.
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Hereafter is a curious movie. It has strong performances and scenes and characters with a quiet power that stay with you even after the film is over.
It is constructed with an unfussy elegance and minimal melodrama by Clint Eastwood. And yet, the film, which grapples with questions of death and what comes after, never meshes into a soaring whole.
Serious filmgoers have learned to take special notice of the week between Christmas and New Year's. It's the time for especially distinguished year-end sleepers (''The Madness of King George,'' ''In the Name of the Father''), and this year it brings two beauties: an exotic Australian romance steeped in religion and gambling (''Oscar and Lucinda,'' reviewed on page 5), and ''The Boxer,'' Jim Sheridan's tender, wrenching Belfast drama.
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My Big Fat Greek Wedding
It is the unenviable lot of the film critic to endure a long string of so-called "romantic comedies", most of which are only marginally romantic, and not at all funny. So, when there's an exception to the rule, it's worth taking notice. Such is the case with Joel Zwick's My Big Fat Greek Wedding, an independent picture which has proven to be 2002's little engine that could. Watching this movie is like eating cotton candy - there's a lot of sweetness and not much substance, but it's a joy to consume while it lasts.
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In the Pantheon of Marvel Comics superheroes, Daredevil is more of a demi-god than a full-blown deity. He's a notch below Spider-Man, The Fantastic Four, The Hulk, and The X-Men. 20th Century Fox has acknowledged this when determining Daredevil's release date. This particular superhero is debuting in February, not in the middle of the summer, when competition from The X-Men and The Hulk would greatly diminish his chances of being noticed.
Are a few good laughs worth wasting 100 minutes of time? For me, the answer is a resounding "No!" There are far more promising avenues to explore in the quest for laughter than the dead-end represented by Jim Carrey's latest endeavor, Bruce Almighty. Putting aside the juvenile humor (which is admittedly, albeit unevenly, funny), all that's left is a woefully underwritten motion picture that starts out as a dumb comedy before taking an ill-advised detour into mawkish sentimentality. The last 30 minutes of Bruce Almighty is so godawful that it almost sent me screaming from the theater.
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Cider House Rules
Note to readers: this review contains spoilers. While I do not believe the revelation of certain plot points will in any way compromise the viewing experience, those who wish to see The Cider House Rules without having previous knowledge of certain elements would do well to bail out now and return after they have seen the film.
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Almost every filmmaker in the history of cinema would be thrilled by the knowledge that a feature of his (or hers) is considered an undisputed classic - a benchmark by which other, similarly themed movies are judged. Director Martin Scorsese, considered by many to be the finest American film craftsman working today, can claim a unique distinction - he has been responsible for a classic during each of the last three decades of the 20th century. In the '70s, it was Taxi Driver. In the '80s, it was Raging Bull. And in the '90s, it was Goodfellas (the most lauded, at least in terms of official awards and nominations, of the director's features). No one else, not even greats like Ingmar Bergman, Stanley Kubrick, and Eric Rohmer, can make a similar claim. With patience, care, and strict attention to detail, Scorsese has staked out an impregnable position in the history of motion pictures.
After his girlfriend leaves him, lonely horror movie buff Adam Waltz moves to Los Angeles to be closer to her. There he lands a walk-on role in studio chief Connor Pritchett's latest cinematic schlockfest, Pirate Wench. One night, a killer starts stalking the set, and before long bodies are piling up. On the downside, it wreaks havoc with the film's budget. On the upside, Adam's part keeps getting bigger and bigger. With ace police detectives Shields and LaRue on the case, everyone hopes the mystery will be solved quickly. But when Adam begins seeing the ghost of an actress who died fifty years ago, there may be more to this serial killing spree than a psycho with a taste for torture.
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In the year 10,001 B.C., a caveman (Matt Lanter) runs away from a predator through a plain. He later gets into a fight with Wolf (Ike Barinholtz). After defeating him, the caveman then encounters himself with the predator, a saber-toothed, gasoline-drinking Amy Winehouse (Nicole Parker), who after checking her FaceNook account, informs him that the world will end on August 29, 2008—the release date of the movie—revealing that their fate lies in a crystal skull. The film flash-forwards to the present, where Will (Lanter) is dreaming the previous sequence. He then finds out that his girlfriend Amy (Vanessa Minnillo) is having an affair with Flavor Flav (Abe Spigner), and she breaks up with Will because he is not admitting his true feelings for her.
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Owen Baker (Liam Aiken) is a 12-year-old loner who has been working as the neighborhood dog-walker so he can earn the privilege of getting a dog of his own. Owen's hard work pays off when his parents, Mr. and Mrs. Baker (Molly Shannon and Kevin Nealon), let Owen adopt a scruffy Border Terrier that he names Hubble (voice of Matthew Broderick).
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The Three Burials of Melquiades Estrada
The film has many flashbacks and sometimes the same event is shown twice from different perspectives.
Melquiades Estrada (Julio Cedillo), a Mexican immigrant working in Texas as a cowboy, shoots at a coyote which is menacing his small flock of goats. A nearby border patrolman, Norton (Barry Pepper), thinks he is being attacked and shoots back killing Melquiades. Norton quickly buries Melquiades and does not report anything. Melquiades' body is found and is reburied in a local cemetery by the sheriff's office. Evidence that he may have been killed by the U.S. Border Patrol is ignored by the local sheriff, Belmont (Dwight Yoakam), who would prefer to avoid trouble with the Border Patrol. Pete Perkins (Tommy Lee Jones), a rancher and Melquiades' best friend, finds out that the killer was Norton. Perkins kidnaps Norton and forces him to dig up Melquiades' body. Perkins had promised Melquiades that he would bury him in his home town of Jiménez in Mexico if he died in Texas. Perkins undertakes a journey horseback into Mexico with the body tied to a mule and his captive Norton in tow.
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Long Time Dead
The film begins showing people using a ouija board in Morocco. Throughout the scene, something is seen from first person perspective coming at high speed towards the people.
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Let It Ride
Jay Trotter drives a cab. His friend Looney does likewise and has a secret microphone in the taxi to record his passenger conversations.
Looney has a tape of two men talking about a horse race and how one of the horses, due to some unethical practice by its owner, is a sure thing to win big. Trotter realizes the potential value of knowledge of a fixed horse race and goes to the track to make a bet -- despite the fact that the day before, he told his wife Pam that he would quit betting and would be home to, "start their marriage over" at noon. Before going to the track, he heads to the bar next door. He goes into a stall in the bathroom and starts praying. He says to God, "Just one day, that's all I'm asking for, one day, I'm due." A man exiting the bathrooms says "Ya? So's Jesus. Let it ride."
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A Far Off Place
The witty Nonni and the stuck-up city-boy Harry are the only ones to survive a massacre of a gang of poachers among the gamekeepers family on his lonesome farm in the savanna. Now the ruthless murderers are after them as the only witnesses. Without a means of transportation, the only way to escape is to walk through 2000 kilometers of Kalahari desert with the help of the African bushman Xhabbo. On the months-long journey ahead they not only become good friends against their differences, but also realize that every one of them has strength and skills that are required to survive.
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A woman secretly witnesses the murder of her blind date for the evening by a top Mafia boss. She immediately goes into hiding without informing the authorities. When they finally catch up with her, she is unwilling to testify to what she has seen, but the Mafia are on her trail. Accompanied by a deputy district attorney, the woman boards a train travelling through a remote part of Canada. The Mafia know him but they have never seen her.
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