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A Dangerous Man
It's been eight years since Steven Seagal has had a film hit theaters (Half Past Dead), but that doesn't mean he's slowed down, cranking out straight-to-DVD action films at a rate that matches his punching speed (clocking in at around 20 since 2002). Seagal's latest dip into action is A Dangerous Man, proof that while his films have lowered in budget, scope, and all around quality, Seagal still has what it takes to scowl harder, kick faster, and deliver lines slower than ever before.
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The Pink Panther 2
Steve Martin continues to be a revered comedy icon even 10 years after his last relevant comedy (that would be Bowfinger), but even he knew he needed some help to get anyone to accept a second remake of the classic Peter Sellers Pink Panther films. So for The Pink Panther 2, Martin stacks the deck with talented comedians and actors from across the globe. Emily Mortimer and Jean Reno are back, John Cleese has replaced Kevin Kline as Clouseau's nemesis Inspector Dreyfus, and Alfred Molina and Andy Garcia have joined as international investigators brought to France when, once again, the Pink Panther diamond is lifted. Add in Aishwarya Rai as a mysterious diamond expert, Lily Tomlin as an etiquette teacher and Jeremy Irons as a suspected culprit, and it's a cast that would make anything worth watching.
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The Last Templar
Midway through “The Last Templar,” a camel and rider pass right by F.B.I. agent Sean Daley (Scott Foley), who’s been stranded in the middle of a Turkish desert. Man and beast continue ambling toward the horizon without even registering our hero’s presence. While viewing the made-for-TV action/adventure film, I found that I could identify with Sean in that moment: I felt lost, exhausted and like a significant part of the plot had just passed me by and was heading who knows where.
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Once, in seemingly another lifetime, the name "Clint Eastwood" was synonymous with Spaghetti Westerns and the Man With No Name. In the '70s and '80s, he was Dirty Harry, the tough cop with a quotable one-liner for seemingly any situation. More recently, Eastwood has softened his image and turned into a one-man movie crew, often producing, directing, and starring in his own films. For the most part, we have come to expect a fairly high level of quality from Eastwood, whether he's an investigative reporter or a space cowboy. Eastwood's latest, an adaptation of Michael Connelly's Blood Work, is a major misstep and a disappointment of significant proportions. It may not be a failure for Eastwood the actor, but it's a big one for Eastwood the director.
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Looking back at the Sylvester Stallone pugilist franchise from the end of the line, one thing becomes clear: there were really only two Rocky movies. Everything else was filler, founded on formula and driven by testosterone and adrenaline. The two real films - those that used boxing as a metaphor rather than a means to an end and that focused on human drama - were the 1977 Oscar winner that started things off and, perhaps surprisingly, Rocky Balboa, the seeming afterthought that brings the saga to a fitting conclusion. These two features are solid bookends around a mess of a series that started going wrong when Rocky beat Apollo Creed in a re-match and got worse from there.
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If Rob Cohen's name wasn't attached to this project, I would swear it was the work of Michael Bay. It has all of the crowd-pleasing director's trademarks: plastic characters, chaotic camerawork, lots of things blowing up, and an incredibly dumb screenplay. In short, it represents a great time at the movies for anyone who has recently undergone a frontal lobotomy. No wonder the guy sitting next to me started surfing the Internet with his blackberry less than half-way through this loud, frenetic snooze-fest.
Comparing Fantasia 2000 to the original Fantasia is in some ways unfair, especially considering the way movie-going methods and tastes have changed over the past six decades. Yet, even though the hand-drawn animation has been helped along by the latest in computer imaging and the running length is considerably shorter, the two movies have the kind of kinship one would expect from motion pictures under the same umbrella. Fantasia aficionados may not view Fantasia 2000 in the same way as the original (creatively, it is clearly a step down), but they will surely appreciate what the filmmakers have accomplished.
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Contact is likely to change a lot of perceptions -- not only about the role of humankind in the universe, but about what special effects can do for a movie when they're used in the service of a story, rather than the other way around. Contact is that rare big-budget motion picture that places ideas, characters, and plot above everything else. The film takes the richness of astronomer Carl Sagan's bestselling 1985 novel and re-invents it for the screen, retaining all the power and fascination of the book while adding a visual aspect that will not disappoint devoted fans. Contact is as close as recent Hollywood productions have come to a perfect example of cinema. All the elements are not only in place, but effectively realized. This is the kind of motion picture that restores one's faith in what can be produced when a large budget is used wisely.
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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Wet Hot American Summer
The film's events take place almost exclusively on August 18, 1981, at Camp Firewood, a Jewish summer camp located near Waterville, Maine. It is the last day of summer camp, and the last day of camp means the last day for each camper and counselor to find someone to kiss at the end of the big talent show that night.
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Just a Kiss
Dag (Ron Eldard) is a successful director of television commercials who shares his home with his beautiful girlfriend, Halley (Kyra Sedgwick). Dag, however, has a serious case of roving eye and is given to frequent flings with other women. Halley tries to turn a blind eye to Dag's infidelity, but when she discovers he had a one-night stand with Rebecca (Marley Shelton), a beautiful but troubled modern dancer who is dating Dag's close friend Peter (Patrick Breen), she decides things have gone too far. Halley gives Dag his walking papers and she soon makes the acquaintance of Andre (Taye Diggs), a very handsome and well-mannered classical musician. Andre, however, is married to Colleen (Sarita Choudhury), a woman with exotic sexual tastes who meets up with Peter, now suddenly without a girlfriend, on an airline flight. Meanwhile, Peter's very angry confrontation with Dag attracts the attention of Paula (Marisa Tomei), a mysterious but very sexy woman who has taken a decidedly carnal interest in Peter. However, as Paula makes her way through Peter's daisy-chained circle of friends, events begin taking a strange turn as her new acquaintances begin dropping like flies.
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Gordon Glass is a comedic film about an aspiring actor Gordon who pursues his dream and moves to Los Angeles, California based on a promise to his grandmother on her death bed is a fun family film. While employed as a security guard at a major Hollywood studio, Gordon experiences the highs and lows of the road to stardom while inspiring those around him to accomplish things they never imagined. Being big and dreaming even bigger, Gordons size and sensibility makes it hard for him to fit in with his family, his job, his new neighborhood and with his new love interest, Sally.
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Broken Rainbow is a 1985 documentary film about the government-enforced relocation of thousands of Navajo Native Americans from their ancestral homes in Arizona. The Navajo were relocated to aid mining speculation in a process that began in the 1970s and continues to this day. The film is narrated by Martin Sheen. The title song was written by Laura Nyro, the theme music was composed by Paul Apodaca, with other original music by Rick Krizman and Fred Myrow
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The Fly II
The story begins several months after the first film, with the birth of Martin Brundle. Martin is unique, as he is the offspring of Veronica Quaife and Seth Brundle, the man who became a mutant hybrid of man and housefly (known as Brundlefly) from the first film. The birth is under the control of Brundle's employer, Anton Bartok, owner of Bartok Industries (which financed Brundle's teleportation experiments). Veronica dies during childbirth, leaving Martin in the custody of Bartok, who plans to exploit his unique condition.
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This is the year 2035. Everybody in the world relies on a huge system of robots, which are programmed specifically to help humans and not harm them in any way. But one person does not think that robots are helpful. Chicago homicide detective Del Spooner. but one day, he received a call from the United States Robotics (USR) about a recent death of renowned robot scientist Dr. Alfred J. Laning. Spooner immediately blamed this incident on robots without justifiable reason or proof. Then, he begins his investigation on Lannings death, only to discover Sonny, a unique robot. What Spooner does not realize, is that something is about to happen. Something that is beyond even spooners wildest dreams.
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