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I Spit on Your Grave
Guillermo del Toro noted that he doesn't know why people get all up in arms over the current reboot/remake craze in Hollywood. The studios have been doing it for decades, he said, and sometimes it results in pretty good movies too -- films that bring something new or different to the core concept of the original. Fair enough, though it does leave one wondering what del Toro would say about the new I Spit on Your Grave then.
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In Drillbit Taylor, a failing-grade comedy about the wishful triumph of high school dorks over high school bullies, the star victims — a fat, mouthy clown; a skinny, precocious geek; and a shrimpy, flouncy nerd — decide to hire some protection from their two most persistent tormentors. The budget-conscious clients settle on Drillbit (Owen Wilson) as a bodyguard. They don't know, as the audience does, that the nicknamed scammer is actually a homeless Army deserter who squats near the Santa Monica shoreline, panhandles on the freeway off-ramp, and hangs with a like-minded fraternity of cynical bums in the SoCal sunshine. (The sunshine explains Drillbit's most excellent blond hair and even tan.) Nevertheless, the adult shirker goes on to inspire self-confidence in his charges, the kids bring about redemption for their unreliable guardian, and there's even time for a little bonus smoochiness between Drillbit and a smitten fellow educator (Leslie Mann) at the boys' high school because, did I forget to mention, at one point Drillbit passes himself off as a substitute teacher, unchallenged by the principal (Stephen Root), who, in the great comedy tradition of school principals, is a tool.
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Greatest Movie Ever Sold
It's probably a safe assumption that everyone reading this review is aware of the incestuous relationship that exists between advertising and movies. It's more than a company paying a fee to have a product appear on-screen; there's cross-marketing, mutual co-branding, and other ancillary benefits intended to create a "win-win" situation. Many in the industry feel that, without all its numerous corporate sponsors and the publicity that resulted from their involvement, Iron Man might not have become the mega-hit that it was. Morgan Spurlock's The Greatest Movie Ever Sold pulls back the curtain and reveals Oz. There's nothing surprising in what Spurlock uncovers, but it illustrates that everything we knew - or at least suspected - about the marriage between advertising and cinema is accurate.
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Me, Myself & Irene
After taking a break to become involved in the production of the small coming-of-age drama Outside Providence, the Farrelly Brothers are at it again. Their 1998 hit, There's Something About Mary, will forever be known for breaking the semen barrier in mainstream movies. It also raised the vulgar comedy to new heights of profitability, proving that envelope-pushing will attract more viewers than it will drive away. Since There's Something About Mary, it seems that each new R-rated comedy has tried to exceed the gross-out quotient of its predecessors (American Pie, for example, was more raunchy and lewd than Mary), leading to a cavalcade of jokes about subjects that Mel Brooks wouldn't have touched in his heyday. However, for their latest, Me, Myself & Irene, the Farrellys have not joined the one-upsmanship game. Sure, this movie contains a fair amount of risqué material and more than a few jokes for people with a warped sense of humor, but, if anything, it is more tame than There's Something About Mary. Me, Myself & Irene sacrifices punch lines in order to develop characters and relationships.
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To sum up Alexander in three words, I would choose the following: three-hour miscalculation. Although some aspects of Oliver Stone's sword-and-sandals epic are worthy of mention (and even praise), they are dwarfed by the missteps and examples of bad judgment. Instead of delivering a mainstream tale of battle and glory along the lines of Gladiator, Stone decided to re-imagine the great Alexander as a Hamlet-like figure. Rather than developing the title character as a larger-than-life individual whose flaws give him a more rounded personality, Stone turns Alexander into a character who is defined by those flaws. He is weak, indecisive, plagued by self-doubt, and obsessed. It's not credible that a man of this nature could conquer 90% of the known world by the age of 32, and therein lies Alexander's conundrum. By de-mythologizing Alexander, Stone has turned him into an unbelievable individual. We accept great deeds from great people, not from sniveling whiners.
The makers of Waterworld, the current holder of the "most expensive film" title, have put a good portion of the money where the viewing public can see it -- on the screen. This production, with its massive explosions, amazing stunts, and breathtaking visuals, is one of Hollywood's most lavish features to date. All of the action takes place on a wide expanse of ocean, with no land in sight. It's no easy feat for human actors to emulate fish.
It seems that hardly a year goes by without a new cinematic adaptation of one of Shakespeare's plays, and, of late, Kenneth Branagh's name has become intimately entwined with that of the Bard. While Branagh, who helmed Henry V, Much Ado About Nothing, and is now working on Hamlet, does not sit in the director's chair for this latest version of Othello, he is very much in evidence on screen in the key role of Iago.
Breaking the Waves
According to writer/director Lars von Trier, Breaking the Waves is "a simple love story", but "simple" hardly begins to describe this deeply disturbing, multi-layered drama. In fact, nowhere is the picture's complexity more evident than in its study of contrasts -- it is highly spiritual yet anti-religious, triumphant yet tragic, and personal yet universal. Love forms the film's core, but rather than approaching the subject from a cliched perspective, Breaking the Waves examines no less than six facets of the emotion: transformative love, sacrificial love, redemptive love, destructive love, romantic love, and sexual love. And, despite a slightly disappointing conclusion, this movie still rates among the best of the year.
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The Great Race
"The Great Race" was a giant comedy, a big-screen spectacle nearly three hours long. Blake Edwards co-authored the screenplay, filling it with cartoony heroes and villains while telling the story of a real-life road race "around the world" in 1908. Starting in New York, the racers traveled across America, crossed the Pacific Ocean, then continued through Russia and Europe into Paris. But that's really just a framework for Edwards' broad farce about good guys and bad guys.
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Vianne Rocher (Juliette Binoche) like her ancestors, drifts across France. In the winter of 1959, she travels to a tranquil French village, where she and her daughter, Anouk (Victoire Thivisol), open a small chocolaterie. The store imbues both wonder and angst within the classical villagers as it opens during the forty days of Lent.
Soon, Vianne's allure and confections enliven a married couple's sex life, encourage an elderly man's secret love, bring rapport with a willful diabetic, and comfort an awkward woman who longs to leave her drunk and abusive husband. Nevertheless, the devout village mayor, Comte Paul de Reynaud (Alfred Molina), sees Vianne as an immoral provocateur and quietly contests against her. The battle peaks when a band of river gypsies camp on the village outskirts and Vianne finds a strong, mutual sexual attraction with the Manush Romani (Gypsy) Roux (Johnny Depp).
The film is set in the North Country of Upstate New York, near the Akwesasne ('Where the Partridge Drums) St. Regis Mohawk Reservation and the Canadian border, shortly before Christmas. Ray Eddy (Melissa Leo) is a discount store clerk struggling to raise two sons with her husband, a compulsive gambler who has disappeared with the funds she had earmarked to finance the purchase of a double-wide mobile home. While searching for him, she encounters Lila Littlewolf (Misty Upham), a Mohawk bingo-parlor employee who is driving his car, which she claims she found abandoned with the keys in the ignition at the local bus-station. The two women, who have fallen on hard economic times, form a desperate and uneasy alliance and begin trafficking illegal immigrants from Canada into the United States across the frozen St. Lawrence River for $1200 each per crossing.
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Friends and family pursue an estranged writer to an isolated house only to find that, once theyve entered, their own fears will kill them if they leave.
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A Woman's Rage
Beautiful Allison (CYNTHIA PRESTON), 30, has no trouble finding a man. Its keeping them thats the problem. Allison tends to become very obsessive and jealous in her relationships, driving men away. Then she met Brian (CAMERON BANCROFT), 44, and swore things would be different. But they werent. Brian, the man of Allisons dreams, soon leaves her. Unable to take accountability for her actions, Allison blames Kathryn (BRANDY LEDFORD), 41, for stealing Brian away. To punish Kathryn for ripping away the love of her life, Allison vows to get even by stealing away Kathryns 17-year-old son Scott (ALEX HOUSE), a boy whos already had a few brushes with the law. When Brian dies in a hit-and-run accident, Allison poses as Brians estranged younger sister to gain access to Scott. Using her beauty and ability to manipulate, she slowly starts to draw Scott away from his mother. But Kathryns not about to lose her son without a fight and the two women go head to head in a battle for the 17-year-old boy
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Suddenly the US east coast is hit by a type of natural disaster formerly reserved, except after a major earthquake, for the Pacific and Indian ocean rims tidal waves of the destructive tsunami type. Scientist and fiction author John McAdams attends a national emergency conference which concludes the phenomenon must me man-made, quite possibly abusing the findings of Johns secret former Sea Lion project, but who wants to and has the means? Indeed John soon finds himself set-up for a murder and chased. Major destructions mean major contracts for construction and coastal defenses, so building tycoons like Victor Bannister certainly have a considerable interest...
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Dr. Dempsey, an American scientist who has become a skeptic after a disastrous wrong call, isnt exactly enthusiastic to be sent by his well-funded employer to Scotland to (dis)prove the existence of the Loch Ness monster, but has no choice. He finds the locals stubborn, primitive and all but hospitable, not in the least because the Nessie legend is the only tourist attraction, but still gets romantically attracted by his independent inn-keeper Laura, and both her kid and his enthusiastic local assistant end up making him face a small family of Nessie-dinosaurs, but is this to be made public?
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Merlin and the Book of Beasts
Welcome to the dark side of Camelot King Arthur is gone. The Round Table is in ruins. And a rogue sorcerer has unleashed a reign of monstrous terror upon the land. For the courts last remaining knights, their only hope lies in the power of the now-bitter and broken wizard Merlin (James Callis of BATTLESTAR GALACTICA). But can a once-great man of magic defeat a legion of creatures that includes Dragon Soldier, Death Hawks and Gorgons, and still reclaim the legendary castle of lore? Laura Harris of DEAD LIKE ME and 24 co-stars in this epic adventure that puts a savage new edge on the saga of Excalibur, Mordred and the ultimate battle between MERLIN AND THE BOOK OF BEASTS.
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