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Transmorphers: Fall of Man
A worldwide robot alien invasion lays waste to civilization as we know it forcing pockets of human survivors to seek shelter anywhere. The might of military powers prove impotent in their counterattack. The Russians manage to capture one of these robots and successfully tortures it into giving up its secrets. Small bands of resistance fighters try unsuccessfully to fight back. Survivors forced underground by a poisonous gas that has spread across the globe. There's a hell of a movie going on in Transmorphers: Fall of Man; too bad most of it is occurring off-camera. We hear about it. We see little of it.
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The Painted Veil
If you want to set out to make a period drama set in China in the 1920s, it's only natural that the source material should be a work by William Somerset Maugham, whose simple direct prose and uncanny talent for telling tales of less-than-perfect characters without resorting to preachiness or melodrama made him the most famous and highly paid writer of the 1930s. The Painted Veil, helmed by John Curran and starring Naomi Watts as unhappy, solipsistic socialite Kitty Fane and Edward Norton as her stern and unforgiving husband, Walter, takes us from London to Hong Kong to the remote outreaches of a Chinese village beset by a cholera epidemic, in this bittersweet tale of love and duty. We first meet the Fanes as they are dropped off at a crossroads in the remote Chinese countryside. They wait in the sweltering heat for an interminably long time, completely ignoring each other as they sit on their pile of trunks and suitcases. Eventually, they are picked up by a group of chair-bearing Chinese who are to transport them by foot to their destination. It soon becomes apparent that Walter is not only completely without concern for his wife's comfort in their travels, he is going out of his way to increase her discomfort at every turn. Why is this man, so genteel in appearance, determined to make his wife miserable? We flashback from there to learn why.
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Walt Disney once held a monopoly on animated family flicks, but the death of Disney led to a long drought until “The Little Mermaid” appeared to resurrect the Disney franchise. However, after “The Lion King”, a series of failures left Disney waning until its partnership with Pixar studios.
The Bridge to Nowhere
The title of this film sets up where it’s going to go, leaving few surprises at the end. But its predictability doesn’t make the movie any less entertaining to watch.
Those on this bridge to nowhere are five longtime friends in their early 20s living in Pittsburgh. The guys distract themselves from their low-paying dead-end jobs with small time hustling: sports booking, gambling and house parties.
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An idyllic wildlife cruise disintegrates into terror when a party of tourists are stalked by a massive man-eating crocodile. Pete McKell, a cynical American travel writer, joins a disparate group of holiday-makers on a river cruise through the waters of Kakadu National Park. Initially Pete clashes with their tour captain, Kate, a feisty young woman who assumes he is just another 'city-slicker' in search of a quick thrill. After an uneventful day cruising the river, Kate is reluctantly persuaded to steer their boat into unexplored territory.
Gigantic is an offbeat romantic comedy that almost - but not quite - works. The characters and situations are a little too quirky for their own good. Everyone is skewed off-center and, while that can be charming in small measures, Gigantic overdoses on it. The film's central romance between two introverted and insecure individuals has its share of nice, sweet moments but director Matt Aselton fails to commit fully to getting these two characters together. Although there's fitful chemistry between lead actors Paul Dano and Zooey Deschanel, Aselton never nurtures those sparks until they catch fire and, as a result, the romantic payoff is unsatisfying. There are also some bizarre interludes that ensure Gigantic will never be seen as mainstream.
Girl with the Dragon Tattoo
The Girl with the Dragon Tattoo belongs to a rare genre: the literate motion picture murder mystery/thriller. (Coincidentally, I saw another good example, the Korean Mother, earlier in the week, but this one is better.) It unfolds not with the breakneck velocity of a typical movie of this sort, but with the gradual, unforced, character-based focus of a novel. It relies more on deduction and the pursuit of clues than on sudden twists and surprises. Few viewers, I imagine, will be shocked when the chief villain is unmasked, but this won't limit anyone's enjoyment of the proceedings.
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Many years ago, during the Golden Age of Hollywood, the motion picture industry practically ran on star power. These days, in large part because of skyrocketing salaries, it's unusual to find more than one high-profile performer in any given motion picture. The Score, however, boasts three of them - aging icon Marlon Brando, Scorsese favorite Robert De Niro, and the up-and-coming Edward Norton. Admittedly, this sounds like an unbeatable combination to fashion a top-notch caper flick, but, like 1998's disappointing Twilight, The Score proves that a cast with high-wattage names isn't enough. The script needs to be on par with the acting talent, and, at least in this case, it isn't. The Score is let down by the screenwriters.
Scream 2 isn't quite as clever as its predecessor, but it fills the gap with a cutting wit. Death -- even gruesome, bloody death -- can be funny if handled the right way (some will be offended by this statement, but you need look no further than Pulp Fiction for an example). And, while there's plenty of horror to go around in Scream 2, the latest '90s slasher flick incarnation, there are also a few laughs to be had. Scream 2 is a slice-and-dice movie for those who don't take their horror too seriously.
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The times Hollywood has got any movie having anything to do with cars right are so few and far between that you barely need the fingers of your second hand to count them.
IN the 13th century, somewhere
between Navarre and Anjou,
there was the walled city of
Aquila, ruled by a wicked bishop who lusted after a great beauty named Isabeau. However, Isabeau loved - and was loved by - Etienne, the handsome captain of the bishop's guards. When the jealous bishop cottoned onto the truth, he struck a bargain with the devil, who obliged his latest convert by putting a terrible curse on the lovers.
In May 1962, dozens of wealthy passengers enjoy dancing in the luxurious ballroom of an Italian ocean liner, the Antonia Graza, while a beautiful Italian woman (Francesca Rettondini) sings "Senza Fine." Away from the party, a hand presses a lever that unravels a thin wire cord from a spool. Suddenly, the spool snaps and the wire slices across the dance floor like a blade, bisecting the dancers. Only little Katie (Emily Browning) — who is dancing with the Captain — is spared, thanks to her small stature and to the captain leaning protectively over her. She looks up at the Captain's face, which splits open at mouth level as the top of his head falls off. Katie screams and the film cuts to the present day.
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House on Hooter Hill
A house haunted by the sensual spirit of its drop-dead gorgeous, recently deceased owner becomes the setting for paranormal activity and ultra-erotic sensations that are out of this world. Young, philandering married couple Sue and Ryan, three busty babes, and a voluptuous psychic who senses danger arrive at the secluded house for a reading of the horny homeowners videotaped will.
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How She Move
Unable to afford the tuition needed to fund her private school education, Rayanna or Raya (Rutina Wesley) returns to her family home in the city while reluctantly re-evaluating her future. Upon learning that the top prize for an upcoming step-dancing competition is $50,000, Raya uses her impressive moves to earn a coveted slot in her good friend Bishop's (Dwain Murphy) predominantly male JSJ crew. Isolated from the local females due to jealousy and separated from her fellow dancers by gender, the ambitious dancer is subsequently kicked-off the team for showing off during a preliminary competition. Now, if Raya has any hope of realizing her medical school dreams, she will have to either earn back Bishop's trust or organize her own dance crew and start over from scratch. In the end, she eventually learns "how she move".
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Its July 1981 and the Royal wedding is about to go ahead. In a small Welsh town where her fifteen-year-old daughter Tammy has organized a street party Linda Caddock, recently made redundant and married - when pregnant with Tammy - to wannabe singer and all-round dreamer Johnny, fears for the future. Neighbour Alan wants her to run off with him and shes tempted even though hes no more realistic than Johnny. A shocked Tammy,seeing her mother with Alan,offers sex to a visiting disc jockey whom Linda sends packing. Next morning Alans wife tells Linda she knows the score and the two women bond. Linda will now make a decision for her future.
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The Parallax View
Joe Frady is a determined reporter who often needs to defend his work from colleagues. After the assassination of a prominent U.S. senator, Frady begins to notice that reporters present during the assassination are dying mysteriously. After getting more involved in the case, Frady begins to realize that the assassination was part of a conspiracy somehow involving the Parallax Corporation, an enigmatic training institute. He then decides to enroll for the Parallax training himself to discover the truth.
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