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Resident Evil: Afterlife
Alice is back slayin' hordes of zombies in Resident Evil: Afterlife, the fourth entry in the Capcom videogame-to-film series and the first to be shot in Avatar-style 3D. The first film's director, Paul W.S. Anderson, is back at the helm for this sequel, which takes Alice – once again played by Milla Jovovich – from Tokyo to Alaska and finally to a zombie-ravaged L.A.
The film also brings back Resident Evil: Extinction's Ali Larter as Claire Redfield, and finally introduces her ass-kicking brother, former soldier Chris Redfield (Prison Break's Wentworth Miller). Also reprising her role from the third film is Spencer Locke as K-Mart, while Shawn Roberts succeeds Jason O'Mara as the Umbrella Corp.'s evil overlord, Albert Wesker.
Resident Evil: Afterlife starts off with a very big bang as Alice takes the fight right to the door of the Umbrella Corp., slicing, dicing and blasting her way through countless goons – and later scores of the undead – in eye-popping 3D gory... er, glory. After learning that there may be a promised land of sorts in Alaska for zombie apocalypse survivors, Alice journeys there but only finds a single soul: Claire, who is suffering from amnesia after a run-in with Umbrella Corp. agents.
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Imagine yourself on a darkened stage, standing in the center of a bright, blinding spotlight. Before you, only vaguely discernible against the shadows, is an audience waiting anxiously for you to begin. Now tell them your story. And make it good.
Bronson focuses on England's most notorious inmate, Michael Peterson, who's life behind bars – split largely between loony bins and solitary confinement – lead to the creation of Peterson's alter-ego, Charles Bronson. Much of the film takes place inside Peterson's mind as he, via Bronson, addresses one such imaginary theatre full of eager listeners who applaud enthusiastically his strange and violent tale. Bronson is, after all, a character piece, through and through, with relatively little story to tell aside from Peterson's pathological need for attention and recognition. The brutal beatings, prison riots and failed attempts at a normal life that find him weaving in and out of jail are only ever the external stage for the life that Peterson lives in his mind.
The Brothers Bloom
There comes a point when you've innovated something as far as it can possibly go, added all that you could conceivably add, discovered all that there was to discover, so that nothing can ever again be new. For the most part, the con-man genre is like this, and if you draw a line back through cinematic history, you can trace the evolution of the double-cross in the most basic of terms. It began with a lie – one character deceiving another in such a way that the audience was in on the scam. And for awhile, the lie was enough. We were content to know exactly where the ball was at any point during the shell game. Whether the target would figure out the con was thrill enough for us. But then we got smarter, wiser, more demanding, and filmmakers delivered the triple-cross, or simply added another element to the con, shuffling around the shells at such a rate and speed that while the audience was aware of the deception, the conclusion was always surprising.
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Now that you're eagerly counting down the seconds before being able to finally check out the final installment in the Rocky franchise, why not start building up hype for Sylvester Stallone's second trip down memory lane -- Rambo 4: Pearl of the Cobra. (Can I just say now that the title is so friggin' stuck in the 80s, I absolutely love it!) I'm not sure how they do it or who they're sleeping with, but the folks over at Latino Review managed to get their hands on the latest draft (dated 11/06/06) of Rambo 4, and have been nice enough to post their review of it.
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The whole world loves a folk hero. Britain has Robin Hood, America has Davy Crockett and Australia has Ned Kelly. The thing they all share is the blurred lines between fact and fiction. On screen any rough edges to their personalities are ironed out, evil deeds omitted and in an instant history is changed for ever.
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Michael Haneke's The White Ribbon, which won the Golden Palm Award at the 2009 Cannes Film Festival, is the quintessential art film: slow, demanding, and rewarding for those willing to put forth the intellectual effort necessary to puzzle out its ambiguities. Set in a small German village on the eve of World War I, the movie explores themes that fit in with Haneke's dark view of human nature (as seen in his other films, particularly Funny Games). The film is about the corruption of innocence and how those who foster such corruption can reap the ugly fruits of their labor. The White Ribbon also argues that "righteousness" can be little more than a cloak of disguise - some of the most apparently upright individuals are those with the deepest moral desiccation.
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I Am Sam
Never trust a serious drama that uses a line from a Dr. Seuss book as its title. I Am Sam (inspired by a line from "Green Eggs and Ham"), despite boasting interesting character relationships, stumbles and falls because of a storyline that consistently overlooks real-life situations when it isn't pandering to the needs of those who want every screenplay to be constructed from cliches. Of course, there's also the problem of overt manipulation - subtlety is not one of this film's hallmarks - but that's to be expected from any motion picture that so obviously wants to be regarded as a tear-jerker.
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The 2003 version of The Italian Job is less of a straightforward remake of the 1969 picture than it is a complete re-interpretation. Enough has changed that it's possible to see the two films not as the same story separated by three decades, but as distinct entities. Expectedly, there are plot similarities (the centerpiece heist contains many of the same elements, including the minis), but the chemistry and motivations of the thieves is different, and the playful, semi-comedic tone of the original has been replaced by something a little less lighthearted.
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Farewell My Concubine
Farewell My Concubine spans fifty-three years, presenting the lives of two men against the historical backdrop of a country in upheaval. Initially banned in China but shown to international acclaim, Chen Kaige's film is one of the year's true masterpieces. Deserving of its award at Cannes and of its prominent position in 1993's New York Film Festival, Farewell My Concubine is a motion picture experience that few will soon forget after leaving the theater.
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With only four days until the bar exam, an utterly unprepared law intern, Rick Robinson (Ben Gourley), is given a rare opportunity to score points with his boss, Maxwell McAllister (Rutger Hauer) and without thinking, commits to a favor he can't afford. Rick soon finds himself stuck in a grueling cross country road trip driving a rundown U-Haul truck carrying all his boss's worldly possessions. To make matters worse, he is left in charge of Mr. McAllister's bratty Hollywood-bound niece Michelle (Mila Kunis) and her out-of-control pet pig.
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The characters drive to a remote location to hike at a site marked "Wilderness Trail". As they start, they see some other hikers passing by. After some walking, talking, and an impromptu foot race, they decide to head back. Before long, they realize that they are lost. That night, they build a campfire.
Deep in the jungle of a remote island in the Pacific lives a new breed of mutant snake. Dr. Andrea Swanson and her research assistant Jake have been studying the species in a top secret military experiment to develop the ultimate anti-toxin. But when tensions rise with the Chinese military, Admiral Bradley Wallace quickly evacuates the island. The only way home is an old, decommissioned submarine on its final voyage to its new home in Taiwan. Wallace decides to put Lt. Commander James ONeill at the helm, a hardened pro facing forced retirement... and he is less than pleased to be babysitting his two new guests. But theyre not alone. Andrea was ordered to bring some of the experimental snakes back to the mainland - and worse, Jake has smuggled some of the deadlier mutated snakes on board, including a giant diamondback. When a Chinese vessel attacks the sub, the vicious creatures are released from their secure containers and begin to stalk the crew members one by one. Trapped two hundred feet below sea level with no way out, the subs skeleton crew find themselves attacked... in the galley, torpedo room, shower, and control room. The snakes are hungry and vicious... but nothing can prepare the crew for the terror that awaits them when the diamondback escapes its captivity. Growing in size and ferocity with each meal... the mutated beast is seemingly unstoppable. ONeill and Andrea become unlikely allies in the fight to keep the deadly snakes at bay as Wallace worries about an international incident as they try to save the sub from the enemy vessels tracing their every move...
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Children of the Corn: Genesis
TIM and ALLIE seek shelter in a remote desert compound after becoming lost and stranded. A strange Manson-like character, PREACHER (Drago), reluctantly allows them inside with strict orders to be gone by morning and not wander where you are not invited. At first, Preacher and his mail-order wife OKSANA (Nedeljakova) deny the faint screams and cries that emanate from one of the crumbling outbuildings. When Allie sneaks outside to investigate, she discovers that she and Tim have stumbled onto a bizarre cult worshiping an entity that may -- or may not -- dwell inside a haunted little boy.
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Out in the wilds, an aged man tells his grandchildren a tale of his own youth. After his mother dies, his usually-absent father, whom he barely knows, takes him into these same wilds to hunt for a grizzly. They find a mother bear with two cubs. The hunters capture the cubs, but the grizzly captures the lad. Somehow, boy and bear bond and trek across the forest with dad and an Indian friend on their trail. After a while, the boy figures out where he and his new mother are going toward her cubs. Rifles, dogs, hunters, bear, cubs, father, and son are headed for a rendezvous.
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Lost Boys: The Tribe
The orphan and former surfer Chris Emerson and his sister Nicole Emerson move to Luna Bay expecting to initiate a new life without housing expenses with their Aunt Jillian, but she charges rent to the siblings for a wrecked house, and Chris seeks a job working as board shaper to raise money for the unforeseeable expenses. While in town, he meets his acquaintance and also former surfer Shane Powers that invites Chris for a surf parting at night. Then the siblings unsuccessfully seek out the board shaper and vampire hunter Edgar Frog in his trailer trying to find a job and Chris leaves a message for him. They go to Shanes party and Nicole stays with Shane and drinks booze offered by him. Later she becomes a half-vampire and Edgar advises that she drank vampires blood and can only be saved if the head-vampire is killed. Chris and Edgar search the hiding place of Shane and his tribe to save Nicole.
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Leprechaun: Back 2 tha Hood
The hairdresser Emily Woodrow finds a fortune in golden coins and she shares the amount with her close friends. However, the owner is the evil Leprechaun that returns from Hell to retrieve his treasure back, killing each member of the greedy group.
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