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It may seem like something of an obvious statement to say that every country, every nation, every people has its own cultural view of cinema, but it's a point about which we too rarely remind ourselves. It's the very reason why American genre films, having become too tired or too familiar, so often look overseas for inspiration. Take horror, for example. The American horror story is fueled by a fear of impermanence – that what we've earned and what we love can be taken away in an instant. It stabs at the very heart of our imperialist, by-the-boostraps, 200-year history. It's why ghost stories and serial killer flicks are distinctly American horror experiences. Then we look to Japan – a centuries-old culture with thousands of years of superstition and mythology – to find stories like The Ring or The Grudge, where the patina of ancient curses is collided with the rise of a modern world. Or France, perhaps, traditionally considered a rather passive country, but whose emerging horror tradition has become a venting of ultra-violence.
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The Last House on the Left
Horror icon Wes Craven serves as a producer on this remake of his directing debut, The Last House on the Left. Updated and toned down from his disturbing 1972 cult classic, Last House follows the Collingwood family -- dad John (Tony Goldwyn), mom Emma (Monica Potter) and teenage daughter Mari (Sara Paxton) -- who run afoul of a murderous family of outlaws led by the functioning sociopath and escaped fugitive Krug (Garret Dillahunt).
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Wisegal is inspired by the true story of Patty Montanari, played by Alyssa Milano (Charmed, Who’s the Boss?), a widowed mother of two that became a trusted member of the Mafia in an attempt to do right by her kids. The executive producer of the movie is none other than Joe Pistone, the FBI agent whose undercover exploits inspired the movie Donnie Brasco.
Failure to Launch
Failure to Launch fails at more than just launching. It fails at romance and comedy. It fails to make the lead characters interesting and their love affair believable. And it fails to develop a consistent tone that would enable viewers to suspend their disbelief and be carried away by a simple tale of two people falling for each other. It's difficult to say whether the leads are miscast or whether the parts are badly written (likely a combination of both), but the pairing of Sarah Jessica Parker and Matthew McConaughey generates as many sparks as a soaked match in a rainstorm. Not only are these two unromantic, but their characters are self-absorbed and dull. So it's left to the supporting characters to provide Failure to Launch's few, occasional pleasures.
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Pacifiers are for infants. The same is true of The Pacifier. In fact, "infantile" may be the best single word to describe this Kindergarten Cop wannabe. Vin Diesel is better than the material, but, no matter how hard he tries, he can't rise above the puerile screenplay credited to Thomas Lennon & Robert Ben Garant. The Pacifier is offensive because it offers little more than unleavened stupidity in the place of the family-friendly action and comedy it promises.
I have never understood the appeal of Jennifer Garner as an action/adventure star. Based on my limited exposure to her work, she's better in comedic or lightly dramatic roles (such as her turn in 13 Going on 30). Nothing that happens in Elektra has changed my mind. Although Garner was arguably the best thing about the lukewarm comic book adaptation of Daredevil, her character had limited screen-time, playing fourth fiddle to Ben Affleck, Michael Clarke Duncan, and Colin Farrell. The translation from supporting character to lead doesn't go smoothly. Garner has difficulty carrying this movie, although the weakness of the script could be part of the reason.
Final Destination 2
Having to rely on a middle-man sucks, even for Death. The problem is, while He gets His due, someone else – usually a guy in a hockey mask or wearing Lee press-on steel nails – steals all the credit. And at least one intended victim always gets away. Jamie Lee Curtis and Heather Langenkamp in particular have been slippery. So, after years of pulling the strings behind the scenes, Death has finally decided to take matters into His own hands. That's where the Final Destination movies come in, since they mark the feature debut of Death Himself as a serial killer. No more sitting around playing chess in Bergman films.
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There's nothing in The Guardian that audiences haven't previously been exposed to ad nauseam. Take a little of An Officer and a Gentleman and a little Top Gun and throw in some waves and underwater sequences, and you have The Guardian - only with less charismatic actors, more tame sex scenes, and a lot less energy. The director is Andrew Davis, who made The Fugitive more than a decade ago. It hardly seems possible that this lazy, sluggish, overlong production could be the work of the same man.
Haunting and disturbing, Time is the kind of motion picture that gets under your skin and doesn't let go. It lingers long after the final credits have rolled and, for those who see it with friends, it will provoke endless post-movie discussions. A meditation on identity and how our physical appearance relates to who we are, Time is the product of the fertile creative mind of controversial (some love him, some despise him) South Korean director Kim Ki-duk. Like Kim's previously seen international efforts (Spring Summer Fall Winter...and Spring, 3-Iron), this one takes a seemingly straightforward storyline and twists it to devastating effect during the final act. The result is a production of intellectual and emotional power. It's nowhere close to conventional and aptly fits the term "challenging."
Q & A is testimony to the validity of the old adage: a good story, when well told, can never be told too many times. With this movie, director Sidney Lumet doesn't bring anything radical to the screen. The premise - a decorated cop discovered to be dirty - has been utilized to the point of overuse, where it has become a cliché. But that doesn't stop the filmmakers of Q & A from providing a different angle on a tale that, although unevenly presented, is at times gripping. Performances are the heart of the film's strength. It's impossible to get far into a discussion of Q & A without mentioning the volcanic interpretations of Nick Nolte and Armand Assante. Playing opposite those two, poor Timothy Hutton doesn't stand a chance.
Even Cowgirls Get the Blues
Writer/director Gus Van Sant's early bid for big-time commercial success -- a success he didn't manage to achieve until Good Will Hunting -- is based on Tom Robbins' 1976 feminist bestseller. Uma Thurman plays Sissy Hankshaw, a woman born with very large thumbs. After her parents (Grace Zabriskie and Ken Kesey) take her to a doctor (Buck Henry), who offers her parents no remedy for their daughter's condition, the film races ahead to the 1970s.
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Children of Men
It is 2027 and no children have been born in the world for 18 years, due to a genetic fertility defect in women. With the world collapsing, only the United Kingdom remains with millions or even billions of asylum seekers entering the country. In response, Britain becomes a militarised police state as British forces round up and detain immigrants. Former activist and now office worker Theo Faron (Clive Owen) is kidnapped by an immigrant rights group known as "The Fishes", where he is surprised to see their leader is his estranged wife Julian Taylor (Julianne Moore). The couple parted ways after their son died from a flu pandemic in 2008. Julian offers Theo money for a permit for a young female refugee named Kee (Clare-Hope Ashitey), which Theo obtains from his cousin Nigel (Danny Huston), a minister. However, it requires the bearer to be accompanied, so Theo agrees to escort Kee in exchange for a raise. Luke (Chiwetel Ejiofor), a Fishes member, drives Theo, Kee, Julian, and Miriam (Pam Ferris), a midwife, towards the coast to a boat. They are ambushed by an armed gang and Julian is fatally shot. Two police officers stop their car but Luke kills them and they escape to a safe house.
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Maid in Manhattan
Marisa Ventura (Jennifer Lopez) is a single mother trying to get by with her young son Ty (Tyler Posey) by working as a maid for a classy hotel set in the heart of Manhattan. When not in school Ty spends time among Marisa’s fellow hotel workers who think she is capable of being promoted to management.
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A recently homeless and jobless loser, a senior citizen estranged from her family, a mother of one dealing with her husbands brain damage, a gas station owner stuck in a job he hates, and a youth pastor feeling irrelevant face depression and loneliness on Christmas Eve. As they cross paths and experience random and minor acts of kindness, their lives are changed forever.
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Africa United (2005)
Zico came to Iceland from Marocco to seek his fortune. After ten years Zico becomes bankrupt, meaning he cant work anymore. Left desperate and depressed Zico decides to bring life to his amateur team called Africa United and take them into the semi-professional 3rd division. He calls upon immigrants all-over Iceland, players from Marocco, Nigeria, Columbia, Serbia, Kosovo, Gambia and Guinea to help realize his vision.
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Drop Dead Gorgeous
In a small Minnesota town, the annual beauty pageant is being covered by a TV crew. Former winner Gladys Leeman wants to make sure her daughter follows in her footsteps. Explosions, falling lights, and trailer fires prove that. As the Leemans are the richest family in town the police are pretty relaxed about it all. Despite everything, main rival (but nice) Amber Atkins wont be stopped. There could well be more death and disappointment to come.
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