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Bunraku takes the combined talents of Josh Hartnett, Woody Harrelson, Demi Moore and Ron Perlman and places them in an utterly insane universe where cowboys clash with samurai warriors and megalomaniacal despots in a hyper-real, hyper-stylised environment. The name comes from an ancient from of Japanese puppet theatre, and at times the movie feels like a stage-play on film, the back-drops popping up and down, the camera zooming in and out origami-like wonderlands.
Yet in spite of the film's technical achievements, it fails to hold together as a coherent whole, the result overlong and undercooked.
Trick 'r Treat
I'm not a horror movie guy. Never have been, never will be. But in the last few years I've grown to respect certain films from the genre, whether for personal reasons or for critical reasons, but it's rare that I ever come across a horror movie that I genuinely love. Yesterday night I finally found one. I'm not sure whether it's my childhood affection for Halloween and the act of trick or treating that provoked my appreciation for this movie, but whatever the reason, by in the end I walked out a bigger fan of horror than I've ever been. Michael Dougherty's Trick 'r Treat is, in my own opinion, the absolute best horror movie I've seen in years and it's sadly being buried by Warner Brothers. Unless I convince them to change their mind.
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Do Hollywood studio executives think that women have a gene for tulle? Neural receptors just for Vera Wang? I wondered this as I was watching “Bride Wars,” a dopey if largely painless romantic comedy with Kate Hudson and Anne Hathaway as best friends forever who turn into best enemies forever because of a wedding day glitch. Since childhood, the two have dreamed of getting married at the Plaza (alas, not to each other), a reverie that turns into a manufactured nightmare when their respective nuptials are scheduled for the same day in June.
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Drizzle, rain, floods. England losing the Test series. Big Brother and pretty much everything on television. Really, it's been a dismal summer. Cinema's not been much help: even a great film such as The Bourne Ultimatum is hardly a barrel of laughs. Thank goodness, then, for Knocked Up.
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Secretariat joins Disney's pantheon of sports movies about underdogs that defy odds and become champions. Of all the movies in this group (which includes Remember the Titans, The Rookie, Invincible and Miracle), this is the least effective, in large part because it's more difficult to dramatize the rise to prominence of a character without speech. So, instead of giving the title horse a voice and calling him Mr. Red, the producers decide instead to focus on Secretariat's owner, Penny Chenery (Diane Lane), which allows the script to drown in numerous clichés. The racing sequences are effectively done and Secretariat's quest for horse racing's Triple Crown concludes with one of those stand-up-and-cheer moments, but the story as a whole seems stale and overly familiar.
Forget Spider-Man's tussle with Doc Ock. Forget Shrek's trek to Far Far Away. And forget Harry Potter's latest attempt to endure the snipes of Snape. For me, the sequel to see during the summer of 2004 is Richard Linklater's Before Sunset, a follow-up to 1994's sublime Before Sunrise. This is one of those exceedingly rare instances in which the motivation for a sequel is creative, not financial. Before Sunrise was not a big money-maker; the existence of a second chapter defies current movie-making logic, and for that I couldn't be happier.
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The Kid is a true story of one who rises from abject poverty to stability and success, although it is not the typical Hollywood rags to riches tale.
The opening sees Kevin (Rupert Friend in a cagey nuanced performance) thrown out of the back of a van, hobbling towards a filthy bedroom as the credits are projected on each surface as graffiti. He attempts suicide with a smattering of pills, washing them down with spirits, he reflects on his life; his earliest memory of abuse. As a child right through adulthood Kevin is dealt a terrible hand and as he tries to survive and make something out of himself, things always get in the way, including the after-effects of his traumatic past.
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Over the years, many films have taken a dark look at the supposedly perfect ideal of a white picket fence, a little house, and a nuclear family. For many, the suburban life is the American dream. For others, however, it can turn into a twisted nightmare of unfulfilled desires, repressed needs, and shattered hopes. Because of the necessity to keep up appearances, a serene facade often conceals a breeding ground for dysfunction, anxiety, and hypocrisy. Directors like David Lynch have made this their playground. Lynch in particular delights in depicting the root causes of social decay in suburbia - and he does it by autopsy. American Beauty is not as dark as a Lynch project, since it allows for small moments of redemption, but it mines the same general territory.
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Austin Powers 2: The Spy Who Shagged Me
The title character's "mojo" isn't the only thing missing from Austin Powers: The Spy Who Shagged Me. Also absent are the freshness and spontaneity that characterized the original. Those characteristics have been replaced by lame and obvious attempts at comedy and a lead actress with a particularly poor sense of comic timing. While the movie boasts several sequences of inspired humor, too much of what The Spy Who Shagged Me has to offer is tired and derivative, and, when the various jokes and gags are tallied, there are many more misses than hits. Coupled with the dilution of the Bond-related satire that suffused the first entry (this film takes more badly-aimed shots at Star Wars than at 007), it all equates to a disappointing theatrical experience.
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My Family, the portrait of a Mexican-American family living in East Los Angeles, boasts a series of distinguished thematic antecedents, including Francis Ford Coppola's The Godfather and Zhang Yimou's To Live. Here, as in the 1972 gangster saga, the significance of family is a central issue, although each movie chooses to explore this differently. In The Godfather, Vito and Michael Corleone struggled to hold their household together regardless of outside pressures; in My Family, family unity gives meaning to existence.
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The movie takes place in the year 2079. Forty-five years earlier, Earth was attacked by a hostile alien civilization from Alpha Centauri. A totalitarian global military government is established shortly thereafter to wage the war effort.
The Accidental Spy
A news reporter covers a story in Turkey where many people have mysteriously died, seemingly from pneumonia. In Hong Kong, Buck Yuen works as an exercise equipment salesman. After an unsuccessful day at work, he heads out through the shopping mall and intuitively knows that a robbery is about to take place. Buck thwarts the robbers plans, relieving them of the money they have stolen and returning it to the police. Later, a stranger approaches Buck, eager to speak the hero who foiled the robbery. The stranger goes by the name of Manny Liu and he tells Buck that he is rounding up several men of Buck's age and description, one of whom could be the son of a wealthy Korean man.
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Muay Thai Giant aka Somtum
Gentle giant Barney Emerald is drugged and robbed while on holiday in Pattaya. He befriends two Thai sisters, one who can speak English, another who is a muay-thai kick-boxing champion, and stays with them until he can recover his passport. After eating some spicy somtum at their mothers restaurant, he accidentally demolishes the place. He vows to find a way to earn the money to rebuild the restaurant.
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Lauren, an impassioned American reporter for the Chicago Sentinel heads to Juarez, a Mexican bordertown, in order to investigate a series of mysterious slayings involving young factory women from all over Mexico. As she discovers hundreds of victims, she gains the trust of local factory workers but falls into danger.
Californication - Season Four Epizod
Hank Moody may be a talented author, despite his gift of the gab, especially for live seducing, his private life is a mess. Repeated attempts to have a stable relationship with Karen, also for the sake of their daughter Becca, fail because of their extreme libertarian infidelity. Hanks sexual appetite also infects talent agent Charlie Runkle, who indulges in all kinds of naughtiness too. More victims of hormones contribute to the lustily lust-loaded plot.
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Infection: The Invasion Begins
A mystery surrounds a small town that was attacked on September 9, 2009. Now sixty years later, the last survivor, Sarah, sends a high profile reporter a letter suggesting what really happened on that day. The government calls 9909 the start of the Modern Plague, and the reporter soon realizes that the truth may be harder to uncover than the lies.
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