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Phil and Claire Foster (Steve Carell and Tina Fey) are a self-proclaimed boring couple from New Jersey. Work and parenting dominate every moment of their lives, leaving them in a comfortable but passionless rut. Not wanting to end up like their divorced friends, Phil and Claire opt to do something really special this time for their regular date night away from the kids: dinner at a posh Manhattan restaurant. But when it looks like they won't land a table, Phil fatefully steals the reservation of a no-show couple named the Tripplehorns so that he can treat his wife to a nice evening.
Everything's going great until two thugs (Common and Jimmi Simpson) show up at their table and escort them outside. It turns out the Tripplehorns have crossed the city's crime lord and are in possession of a flash drive that he wants back. This leads to one long crazy night where Phil and Claire must outrun some of the city's most powerful and notorious figures, but they also just might put a little spark back into their relationship along the way.
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OSS 117: Le Caire, nid d'espions
This light-hearted pastiche is a recommended antidote to ‘Quantum of Solace’. It’s a French spin on their own secret agent franchise, based on the numerous OSS 117 novels of Jean Bruce, which pre-dated Fleming’s novels and spawned a series of uneven movie adaptations. Thankfully, director and co-writer Michel Hazanavicius’s delightful ’Scope parody is a treat in its own right, carried sturdily along by the performance of talented comedian Jean Dujardin as the preening, smug and un-reconstructed agent who’s sent out to revolutionary Egypt in 1955 on a simple mission to ‘calm down the Americans, Russians and English; buttress French policy; establish peace; and make the Middle East safe.’
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M. Night Shyamalan didn’t script or direct DEVIL—he was just one of the producers, and it’s based on his story—but since this is the film that may forever be remembered for turning “From the mind of M. Night…” into a viral punchline, it’s worth noting that DEVIL (billed as “The Night Chronicles 1” on screen, if no longer in the marketing materials) does mark something of a change in direction for the beleaguered auteur. Rather than build up to a heretofore concealed, big-surprise plot twist, this movie takes the different if ill-advised tack of explaining in advance what it’s all about.
The Rock's on a roll. Anyone who doubts Dwayne Johnson can be the new millennium's answer to Arnold needs to look no further than his recent resume. The parallels are astonishing. Both come from non-acting fields where brawn is a key requisite. Both have a strong screen presence coupled with a limited acting range. And both are savvy about the importance of marketing and branding to stardom. The only thing The Rock lacks is an accent (for example, he correctly pronounces "California"); however, since he is American-born, the Presidency isn't out of the question. And which would you rather have inside the White House (as well as on its grounds): a bush or a rock?
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Good Bye, Lenin!
There's certainly no shortage of rich threads woven into the tapestry of Good Bye, Lenin! Wolfgang Becker's movie (produced by Stefan Arndt, who has been involved in everything by Tom Tykwer, from Run Lola Run to Heaven) offers the touching story of a devoted son's sacrifice for his mother, albeit with a couple of inventive twists. The story confronts the perversion of perception and the manipulation of reality. And, as if that isn't heady enough material, it tackles the confusing national identity crisis suffered by Germans when the Berlin Wall came down. Like twins reunited after a long separation, there was an awkward re-acclimation process that few films are interested in exploring. (Perhaps it takes a German filmmaker to do the issue justice, or perhaps to even recognize it at all.)
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If there are lots of flashes and bangs, and smoke and fire, either your car has just rear-ended a Pinto or Michael Bay has made a new movie. Sometimes, both are disasters. In the case of The Island, there's enough fun to be had that it's almost possible to ignore the stupidity of the story and the cavity that replaces character development. This is a non-interactive video game demo crossed with an amusement park ride. It offers plenty of thrills but nothing else. It looks and sounds good, but satisfies only on the most primal level. For some, this will be enough. Calling The Island a "popcorn, old-fashioned summer movie" is fair, but it's also sad, since it could have been more. But movies that aim low rarely achieve any kind of altitude.
Ghost Dog: The Way of the Samurai illustrates that, in some bizarre way, artsy films can be subject to the same major flaws that often afflict Hollywood blockbusters. It's typical for a big budget motion picture to ignore logic and consistency in order to boost the level of adrenaline. Ghost Dog, the latest from iconoclast director Jim Jarmusch, commits the same sin, albeit for radically different reasons. Jarmusch is so infatuated with his subject matter and thematic content that he force-feeds his plot through a pair of totally incomprehensible twists (one near the beginning and one at the end) in order to make statements and get things moving in a particular direction. As a result, only the most ardent Jarmusch fan will be able to suspend disbelief, and the movie turns into an exercise in ideas rather than an excursion along a stable narrative route.
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Perhaps it's redundant to say that a David Lynch movie is weird (actually, "incomprehensible" might be a better word). Don't ask me to explain Lost Highway; I'm not sure I can. For that matter, don't ask Lynch, either. All he's willing to say is that it's "a 21st century noir horror film" and it's up to viewers to draw their own conclusions. Lost Highway is unusually bizarre even for this atypical director. Co-written by Barry Gifford, the film ventures deeper into the nearly psychotic supernatural than any feature Lynch has previous overseen. And, while not approaching the brilliant level attained by Blue Velvet, Lost Highway is an improvement over the film maker's most recent two outings, Wild at Heart (based on the novel by Gifford) and Twin Peaks: Fire Walk With Me.
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Animal 2 opens with James "Animal" Allen (Rhames) praying in his jail cell during a full out riot at Folsom Prison. A riot that was supposedly started by him and that he adamantly denies. By the time the credits have ended, he’s been transferred to Susanville Prison, where he had previously spent 15 years.
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Road to Perdition
Michael Sullivan, Sr. (Tom Hanks) is a mob enforcer for John Rooney (Paul Newman), an Irish mob boss in Illinois during the Great Depression and Al Capone era. Rooney raised Sullivan, an orphan, and loves him as a son; more so, in fact, than his real son, the ruthless, unstable Connor (Daniel Craig) . Sullivan and Connor go to a warehouse for a meeting with Finn McGovern, a disgruntled employee. Twelve-year-old Michael Sullivan, Jr. (Tyler Hoechlin) hides in his father's car and witnesses Connor kill McGovern in a fit of rage. Sullivan swears his son to secrecy, but Connor decides to hush these witnesses forever. He murders Sullivan's wife Annie and the couple's younger son Peter, mistakenly thinking he has murdered young Michael. Sullivan and his remaining son flee to Chicago.
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Felicity Ward Textbook Idiot
Award winning stand up comedian and 1992 Walk-A-Thon Participant, Felicity Ward,shines a floodlight on the thoughts that should have stayed in her diary
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A teenage boy befriends an escapee from a mental institution who sees visions of horrible murders being committed.
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Cupid & Cate
Cate has a small boutique where she sells vintage clothes. She is dating some snob whose mother thinks that Cate is a second class citizen because of her line of work. Harry meets Cate and they fall in love instantly. Francesca is a doctor who finds out that he has cancer, and tells Cate so that she would break up with Harry...
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After she becomes stranded in a small town, a young woman discovers her arrival there was foretold a century earlier by the towns founding preacher and that she is an integral part of his impending - and terrifying - rebirth.
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Four young filmmakers travel across the desert to Hollywood in hopes of kidnapping their favorite b-movie actor and forcing him to star in their movie.
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Married Men and Single Women
When 3 married men decide to step out on their marriages, they find that infidelity has unpredictable devastating consequences. Betrayal, hypocrisy, racism, several other matters surface as married men and single women come together.
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