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Can a movie where Anthony Hopkins plays a clever murderer go wrong? The answer is no, no it can’t - thank goodness! Though he trades “Clarice” for “Willy Boy,” and cannibalism for a more calculated sort of murder, Hopkins evokes his Silence of the Lambs heyday in what is definitely one of the best thrillers of 2007.
Robot Chicken: Star Wars
Not long ago, from a galaxy not far enough away comes Robot Chicken: Star Wars! Featuring sketches which parody George Lucas’s epic saga together with stop motion animation using claymation and plastic toys, it’s an excellent send up of a classic which also manages to answer some questions you might have had, like what would happen if Jar Jar Binks met up with Anakin Skywalker later on when he’s Darth Vader or how George Lucas would escape from fans at a Star Wars convention!
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Miracle at St. Anna
Recently, Spike Lee was in the news feuding with Clint Eastwood about the absence of black servicemen in Eastwood's recent Iwo Jima duology. According to Lee, Eastwood ignored history in Flags of Our Fathers and Letters from Iwo Jima by not making any of the American characters black. Eastwood succinctly responded by suggesting that Lee should "Shut [his] face." One could argue that Lee's reason for making his complaint public was to garner publicity for Miracle at St. Anna, the controversial filmmaker's World War II tale about black soldiers in the European theater. Knowing Lee to be as passionate as he is outspoken, I prefer to believe his words are reflective of his feelings rather than just sound bites useful for the promotion of a film. Maybe the distributor (Disney/Touchstone) feels otherwise.
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Art School Confidential
For Art School Confidential, director Terry Zwigoff has re-teamed with Daniel Clowes for an offbeat and bitingly satirical look at the college era coming of age story. Considering Zwigoff's resume, which includes Bad Santa and Ghost World (based on one of Clowes' comic series), one should not expect Art School Confidential to be a cheerful romantic comedy/underdog overcomes tale. In fact, this is as dark as Zwigoff has gotten - arguably even darker than Bad Santa. And, while it's legitimate to label Art School Confidential as a "comedy," the movie is more clever than it is funny.
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Lions for Lambs
Lions for Lambs is one of those movies in which the principals talk a lot but don't say much. The film is built not upon characters and plot but upon ideas. That would be fine if the ideas were revolutionary or interesting, but they're fairly commonplace. At its heart, this is an anti-war movie but, unlike other films existing in this growing genre, it doesn't pretend that the current situation is a series of black-and-white discrete instances. It acknowledges the grays. The problem is, aside from some okay performances by high-profile talent, there's nothing worth watching going on here. It's surprising that a director of Robert Redford's undeniable skill has made such a bland and somnambulant motion picture.
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Let me begin this review by stating that I am weary of courtroom dramas. This is in large part because of John Grisham, whose popularity has encouraged screenwriters exploring this genre to fall into familiar, predictable patterns. Seen in retrospect, some of the best of these movies (The Verdict, A Few Good Men, Presumed Innocent) no longer look as impressive as they once did. So it was with low expectations that I sat down to watch A Civil Action, the second feature directed by Steven Zaillian (his first was Searching for Bobby Fischer), the screenwriter of Schindler's List. However, Zaillian managed to surprise me by crafting a courtroom drama which is sufficiently different and thought-provoking that I can recommend it with a clear conscience.
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A dozen years ago, the prospect of a romantic comedy starring Tom Hanks and Julia Roberts - two of the most bankable actors of the late-'90s and early-'00s - would have created waves of anticipation. In 2011, this second collaboration between the two (they were previously paired in Charlie Wilson's War, although not romantically) is having trouble generating ripples. Part of that is because it is being released as "counterprogramming" to Transformers 3. Another part is that this is intended for grown-ups and the summer season is not kind to such films. Finally, some would argue (those who base their decisions solely on box office calculations) that both Hanks and Roberts are past their "sell by" date. This may be true, but it doesn't stop Larry Crowne from being three things Transformers 3 is not: light, frothy, and capable of being watched without generating a headache.
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The Mummy is pretty silly stuff. But that's okay when you consider that, beneath all the action/adventure and horror trappings, it's actually a comedy. Think of a big-budget, high profile effort in the vein of Sam Raimi's Army of Darkness with less camp and better special effects. The Mummy never takes itself seriously, and neither should we. It's a good thing it is funny because, as a thriller, it's an underwhelming effort. I suppose there are times when The Mummy makes an attempt to get the adrenaline pumping, but it never tries too hard. In the end, it's the self-mocking aura that save this film from being a waste of two hours.
tall in the saddle
In this convoluted Western mystery, "tall in the saddle" is more of a genealogical clue than an accurate index of the hero's behavior. John Wayne has come to town, so he says, to work for a local rancher--who was murdered shortly after sending for him. Prime villain would appear to be Ward Bond, exuding oiliness as the local judge, who doesn't seem to be a real judge. Paul Fix (who cowrote the screenplay) and Harry Woods supply the thuggery. But mostly it's women that Wayne has trouble with: the dead man's genteel niece (Audrey Long) and her virago of a duenna (Elisabeth Risdon), and especially Ella Raines, who dresses like a man (well, a very pretty boy), runs the neighboring ranch, and falls into instant love-hate with Wayne. (This was Raines's glory period--within a few months in 1943-44 she was breathtakingly lovely in Corvette K-225, Hail the Conquering Hero, and Phantom Lady--but alas, here she's mostly just shrill.)
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The Curse of the Jade Scorpion
CW Briggs (Woody Allen) is an insurance investigator who is highly successful, owing to his many connections and ability to think like a criminal. His work does not impress Betty Ann Fitzgerald (Helen Hunt), an efficiency expert who butts heads with Briggs over his old-fashioned views. Her advice is usually followed however, because she secretly is in a relationship with her boss, Chris Magruder (Dan Aykroyd), who constantly reassures her that they will be free to pursue their relationship in public once he finalizes his divorce with his wife.
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Elder Aaron Davis (Steve Sandvoss), a young Mormon from Pocatello, Idaho, is sent to Los Angeles with three other missionaries to spread the Mormon faith. They move into an apartment next to openly gay party boy Christian Markelli (Wes Ramsey) and his roommate Julie, an aspiring singer. Christian and Julie work as waiters at Lila's, a trendy restaurant owned by retired actress Lila Montagne (Jacqueline Bisset).
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The Football Factory
"The Football Factory" focuses on two different groups of English football supporters—the Headhunters, who support Chelsea, and the Bushwhackers, who support Millwall. Throughout the movie, the Headhunters fight with other English groups such as those supporting Tottenham Hotspur, Liverpool, and Stoke City.
The film follows Tommy Johnson (Danny Dyer), a football hooligan in his mid 20s who has begun to question his morals and the morals of those around him. Tommy's major conflict in the film stems from his inevitable aging. Although he loves his weekend 'meets', he knows he cannot possibly play forever.
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End of the Spear
End of the Spear is the story of Mincayani, a Waodani tribesman from the jungles of Ecuador. When five young missionaries, among them Jim Elliot and Nate Saint, are speared to death by the Waodani in 1956, a series of events unfold to change the lives of not only the slain missionaries families, but also Mincayani and his people.
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Lulu McAfee lives in a San Francisco home for mentally-ill adults. In June 1999, she bolts for L.A. and contacts Ben Clifton, an old flame, now unhappily writing for TV and unhappily married to a psychiatrist, Claire. Ben is ready to call Lulus doctor when she tells him they have a son, born after she became ill and their affair ended. He calls Claire to tell her hes driving Lulu to Wisconsin to meet the boy on his 16th birthday, a visit Lulu claims is arranged. On the drive, Lulu tries to rekindle the affair and restart Bens idealism. Meanwhile, Claire boards a plane to Madison to watch her marriage collapse. Is there really a son? What emotional landmines will the trip set off?
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Irving Blitzer disgraced himself when putting extra weights into his teams bob in the Olympics, resulting in his gold medal being taken away from him. Years later, Derice Bannock, son to a former friend of Irv, fails to qualify for the 100-yard sprint for the Olympics due to a stupid accident. But when he hears of Irving Blitzer living also on Jamaica, Derice decides to go to the Games anyway. If not as a sprinter, then as a bobsledder. After some starting problems, the first Jamaican bobsledding team is formed and heads for Calgary. In the freezing weather Derice, Sanka, Junior and Yul are only laughed at, since nobody can take a Jamaican bobsledding team led by a disgraced trainer for serious. But team spirit and a healthy self confidence may lead to a few surprises in the upcoming Winter Games.
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Love & Distrust
Tale of the passions and perils of love in all its forms. Split into five stories that focus on the lives of a group of beautiful yet troubled twenty-somethings, this film explores the dark heart of romance, the secrets we can never tell and the heartache it can cause. Battling temptation and the pull of seduction, the fight for love can never be easy.
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