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Takers is in the running for the most unintentionally funny film of 2010. The very definition of a cheesy B movie, Takers throws every action film cliche at the screen. Unfortunately that ploy doesn't pay off as half the time you can't actually tell what's happening on the screen. Why? Because once again a filmmaker has opted to use the shaky cam to the point of distraction/nausea, zooming in and out of shaky close-ups and always seeming to be a frame behind where the action really is.
It is the year 1250 B.C. during the late Bronze age. Two emerging nations begin to clash after Paris, the Trojan prince, convinces Helen, Queen of Sparta, to leave her husband Menelaus, and sail with him back to Troy. After Menelaus finds out that his wife was taken by the Trojans, he asks his brother Agamemnom to help him get her back. Agamemnon sees this as an opportunity for power. So they set off with 1,000 ships holding 50,000 Greeks to Troy. With the help of Achilles, the Greeks are able to fight the never before defeated Trojans. But they come to a stop by Hector, Prince of Troy. The whole movie shows their battle struggles, and the foreshadowing of fate in this remake by Wolfgang Petersen of Homer's "The Iliad."
A Prophet (Un prophète in its home tongue) is director Jacques Audiard's gangster-themed twist on the rags-to-riches story. Although it's a genre staple to present the story of an innocent corrupted by the criminal world and rising to a position of power, Audiard adds a unique spin to the tale: his anti-hero, Malik El Djebena (Tahar Rahim), does all this while behind bars. A Prophet is as gripping as any recent film about crime and criminals, although its ill-focused attempts to incorporate elements of the supernatural (prophetic visions and ghostly apparitions) are bizarre and ineffective. The movie was a huge success in its native France, where it dominated the César Awards, and it was one of the five finalists for the 2010 Best Foreign Language Film Oscar.
Not to be confused with the early-'90s Kieslowski film of the same name. Definitely not.
Sometimes, casting makes a difference. Under the stewardship of the same director with the same screenplay, Red might be an enjoyable-but-forgettable late year action/comedy - the kind of thing one might bypass in the theater, recognizing that the multiplex is just a brief stop on the movie's road to DVD. However, with so many A-list actors fighting for space on the marquee, it's impossible to view Red so dismissively. It's a lot of fun and, because of the high quality of the cast, there's no need to feel guilty about praising such an inherently silly motion picture. Like The Expendables, this is fast-paced, high octane entertainment for the AARP crowd. It never takes itself too seriously, which is a good thing because it's a stretch to imagine some of these actors doing the stuff they're called upon to do. All that's
Stuck, like many in the thriller/comedy genre, has difficulty handling the tonal shifts between humor and suspense that exist within its framework. That's not to say the movie fails - there are times when it is bitingly funny and times when its bloodiness can cause a wince and a shudder - but director Stuart Gordon is not adept at blending the two extremes into a cohesive whole. Still, the storyline and its presentation are unique enough that it's difficult not to be intrigued about where all this is going once it starts.
From Ingmar Bergman to Jodie Foster, film makers throughout the years have been fascinated by what happens when members of a dysfunctional family gather for a celebration. Inevitably, dark secrets come to light, intrigues are put into motion, old rivalries are renewed, and new revelations change existing relationships. Some films tackle these ingredients far better than others. Handled poorly, this material can be the foundation of a painfully trite motion picture. Executed intelligently, however, it can have a profound impact. Thomas Vinterberg's The Celebration is one of the best cinematic explorations of this subject, and the result is unsettling.
Anyone who saw Todd Solondz's breakthrough feature film, Welcome to the Dollhouse, has the kernel of an idea about what to expect from the director's latest effort, the ironically-titled Happiness. Welcome to the Dollhouse is a dark comedy that takes an uncompromising look at the life of a socially unpopular adolescent girl. The film's hallmark is that it does not romanticize the lead character - she is as unpleasant as her tormentors. And, although the movie is a grim experience, it offers plenty of laughs, many of which are mean spirited. Watching Happiness is much the same kind of undergoing, only more intense. Consider Dollhouse the appetizer to Happiness' entree.
All through its production and into the early days of its initial, aborted pre-release publicity, Hard Rain bore the appropriate moniker of The Flood. Ultimately, however, Paramount Pictures, nervous that this movie would be confused with 1996's other, underperforming disaster films (Dante's Peak, Volcano), changed the title and shifted the release date by nearly a year. But, to paraphrase the Bard, swill, by any other name, would smell as rank. No number of name changes can help this picture. It's not just about a disaster, it is a disaster.
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It's heartening to know that while we sat through one of the emptiest synthetic hit movies of the 1980's, the seeds of parody were being sown. It's also nice to see that the three-headed Zucker-Abrahams-Zucker directorial entity, the one responsible for "Airplane!," has split into three fully formed talents without any apparent loss of verve.
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Despite its enormously entertaining action sequences and generally high level of energy, Drop Zone has a major draw back: it doesn't make sense. This is a classic example of a script apparently constructed as an afterthought to accommodate the skydiving, fight, and chase scenes. The plot, to put it frankly, is complete rubbish, with far too much time devoted to fruitless attempts at explaining and developing it.
Most recently, skydiving was used to drive Terminal Velocity, and, while no one is going to nominate Drop Zone for an award, it's a more enjoyable way to spend ninety-plus minutes -- assuming you're for some reason forced to choose between the two. Then again, no matter what the arena, Wesley Snipes can act rings around Charlie Sheen, and John Badham (Wargames) is a somewhat more accomplished director than Velocity's Deran Sarafian.
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The film chronicles a day in the life of siblings, Trish (portrayed by Gina Philips) and her brother Darry Jenner (played by Justin Long) coming home from college. As they drive through the North Florida countryside in their 1960 Chevrolet Impala, a mysterious driver in a rusty old delivery truck tries to run them off the road. After letting the vehicle pass them, they later see the same truck, in the distance off the side of the road, with a hulking man sliding what looks to be bodies covered with blood stained sheets, into a large pipe sticking out of the ground next to an old abandoned church.
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During World War 1, and in the chaos of a charge across no man's land, a company of British soldiers is wiped-out by machine gun and artillery fire. The next morning, the survivors find themselves slowly advancing through a dense mist, which contrary to their fear is not a poison gas. As they emerge from it, the British come across a complex network of German trenches, where they find an apparently besieged handful of terrified German soldiers. Private Quinn shoots the first and attempts to shoot the second, but Private McNess stops him and the German stumbles down the trench. The third German is left, a young man named Friedrich. Convinced that they have broken through the enemy lines, the soldiers decide to secure the trenches. Doing so, they explore them and find ominous signs that something there has gone very wrong: they find rotting bodies everywhere, often wrapped in barbed wire. When detonating charges to close off some passages, they hear a demon like growl and as they walk away fail to notice vast amounts of blood pouring from the mud. Later, while Private Hawkstone is exploring more of the trench, he is called away by the other soldiers. But as he turns, he notices a body covered in mud and leaned against the wall of the trench. It turns out to be the second German who got away and as Hawkstone calls for help the German jumps at him with a shank and Hawkstone is forced to shoot him. This does not kill him and as they wrestle in the mud, Private Starinski runs up and shoots the German. He falls to his knees and Quinn finishes him with a shot to the head.
The life of Blues and folk singer Huddie Leadbetter, nicknamed Leadbelly is recounted. Covering the good times and bad from his 20s to 40s. Much of that time was spent on chain gangs in the south. Even in prison he became well known for the songs he had composed and sung during and before the time he spent there.
Oh, God! Book II
Second Oh God movie has God appearing before 11-year-old Tracy Richards to ask for her help to spread his word and influence over the world which she suggests the slogan Think God. Naturaly, Tracys divorced parents Paula and Don think Tracys just crazy and plot to halt her heaven-sent mission to spread Gods word
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Expelled: No Intelligence Allowed
Academic freedom is being suppressed, says Ben Stein. He contends that professors from around the United States are being fired from their jobs for promoting, or even exploring the possibility of, intelligent design as an alternative to Darwinism. Stein interviews the expelled academics and other supporters of intelligent design. He also interviews the scientists in the mainstream, who support Darwinism. Stein links Darwinism to Nazism, Communism, eugenics and abortion. Vintage clips of educational films and Hollywood movies are used to illustrate points in a satirical way.
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