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The Twilight Saga: New Moon
The Twilight films seem to divide people into two distinct camps – obsessed fans and everyone else. Those in the first group have already made their mind up about New Moon, probably before even a single frame was shot. They're going to see it, and they're going to love it. It's faithful to the book (almost to a fault) and filled with romantic tension, teen angst and, of course, hot boys running around without their shirts on. The problem is that all of this fan service comes at the expense of telling a good story with characters the general audience can care about without having read any of Stephenie Meyer's books.
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Open Season 3
I really wanted to like this movie… but poor animation and a mediocre storyline leave this film trailing in the woods.
Boog is preparing for a trip with the guys when everyone, including his best friend Elliot, decides to bail out. Angered and hurt, Boog wanders on his own until he stumbles upon a Russian circus and a beautiful lady-bear named Ursa. Boog is so enamored by Ursa that he does not realize that Doug, another circus bear, is plotting his escape by trading places with Boog. When Boog’s friends realize that Doug is an impostor, they ban together to get their friend back.
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Explaining a mystery is an act of reassurance. It makes us feel that chaos has been defeated, and the forces of order restored. Zodiac, David Fincher's vastly intricate and dazzling drama about the hunt for the serial killer who terrorized the San Francisco Bay Area starting in 1969, offers no such soothing closure, and that's part of what's haunting about it. It spins your head in a new way, luring you into a vortex and then deeper still, fascinating us as much for what we don't know as what we do. Reenacting one of the most infamous ''cold'' cases in U.S. criminal history, Fincher has broken with the fanciful mode of tawdry baroque opulence he employed in Fight Club, Panic Room, and his first serial-killer outing, Seven. Zodiac is based on piles of documents culled from police records, and it's been made in a style of dogged, almost fetishistic realism, its suspense rooted in the scrappiest tidbits of bureaucratic protocol. Fincher refuses to squeeze the hunt for the Zodiac killer into tidy arcs. The revelations occur where they did, and not where they didn't.
Nancy Drew is an effective translation of the source material, but that's not necessarily a good thing. The popular written series has been a staple for young female readers since the first books were published in the 1930s, and the movie will probably play well to its core niche audience. (As of 2006, there were 175 official Nancy Drew books in publication, plus a number of spin-offs including a popular Hardy Boys/Nancy Drew crossover series.) Unfortunately, for anyone who is not a girl between the ages of seven and 10, Nancy Drew will an unpalatable, dull, and predictable experience. The characters undergo nothing that could be remotely associated with development, the mystery is wafer-thin, and the slight plot is stretched to the breaking point in order to fill out 95 minutes.
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Waitress is a pleasant dramatic comedy that overcomes its tonal inconsistencies by presenting an engaging lead character with whom its virtually impossible not to empathize. The film makes its share of missteps, occasionally feeling a lot like a sit-com and sometimes calling attention to quirky filmmaking devices that don't work (such as a character's face being frozen for an inordinate amount of time in a single expression). In the end, however, Adrienne Shelly's movie has enough of a heart that it's easy to forgive, if not entirely overlook, such issues.
Once upon a time, Disney was the king of animation. Today, in the realm of CGI and 3D, they remain at the top only by virtue of a partnership with Pixar. Hand-drawn animation - the kind responsible for many of Disney's most beloved classics - is passe (although there are frequent rumors of re-invigorating it), giving all big-screen cartoons the degree of sameness that results from increased computer participation. With Enchanted, Disney is opening a new front in the ongoing animation war. Call it "live action animation." While this is certainly not the first motion picture to blend drawn creations with real life actors, no movie to date has approached it quite this way.
With Mystic River, Clint Eastwood has rebounded nicely from the failure of his mediocre previous effort, Blood Work. Absent from the screen but behind the camera for the first time since Midnight in the Garden of Good and Evil, Eastwood concentrates all of his efforts on producing and directing, and the result is the Hollywood icon's best effort in nearly a decade. The script, written by Brian Helgeland, remains reasonably faithful to Dennis Lehane's novel. This is a powerful tale of crime, guilt, and punishment - a drama that incorporates elements of whodunit mystery/thrillers and police procedurals with a richly textured three-character play.
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Whatever else 300 may be, it is destined to become beloved for a group of devotees. The size of that group will determine whether it achieves mainstream acceptance or attains cult status. Distilled to its essence, this is a graphic novel come to life - one of those rare instances in which filmmakers seek not merely to adapt a comic book but to interpret it for the screen. Both approaches are valid and have their strengths, but 300 would not be the experience it is had it not clung to the hyper-reality of the images of Frank Miller's graphic novel. From a visual standpoint, 300 (like Sin City before it) exists at a vertex where comic books and motion pictures intersect.
There are only two reasons to see The Pink Panther, and neither has anything to do with Steve Martin or his bastardization of Inspector Clouseau. The first is the opening credits cartoon - no matter how bad the movie, at least the title character, playing practical jokes to the tune of Henry Mancini's unforgettable theme, doesn't disappoint. But it's a sad thing when the best part of the movie comes before the movie starts. Then there's an opportunity for viewers to see Clive Owen as James Bond - sort-of. In the lone semi-inspired bit, Owen appears as a dapper British secret agent with plenty of gadgets and a penchant for derring-do. (The Pink Panther, which has been sitting on shelves for a while awaiting its prime February release date, was filmed at time when Owen was considered to be the front-runner to replace Pierce Brosnan. Had that happened, this movie would have scored a coup. Since it didn't, this becomes an odd footnote.)
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Hounddog began its public life at the 2007 Sundance Film Festival, where it was inauspiciously dubbed "the Dakota Fanning rape film." Poor audience and critical reception led the director to "re-work" the movie, which emerged from limbo for limited distribution nearly two years after its initial film festival showing. It seems destined for a quick one-week run in a few theaters before rushing to video stores, where it will gather dust. A failure on pretty much every level, Hounddog would never have been known beyond Park City had it not been for the notoriety surrounding the rape scene.
Gabriel Iglesias: Hot and Fluffy
Gabriel Iglesias is one of the fastest-rising comics today! With his unique brand of humor, lovable stage presence and wide range of voices and impressions, its no wonder that he already has a huge fan following. Hes been seen on Last Comic Standing, The Tonight Show with Jay Leno and Jimmy Kimmel Live!, and now you can see Comedy Centrals Comic of the Year in his sold-out performance at the historic Fox Theatre in Bakersfield, California!
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Love & Sex
When her rather explicit copy on oral sex is rejected, magazine journalist Kate Welles (Famke Janssen) is told by her editor, Monique (Ann Magnuson), to write an article on loving relationships instead -- and to do so by the end of the day or face being fired. This gets Kate thinking back over her own various misadventures searching for love over the years, and wondering if she is in much of a position to write on the subject.
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Bobby G. Can't Swim
Bobby G. lives life on the edge in this real, raw New York street drama. Bobby is a small-time coke dealer, always on the hustle but rarely successful. He lives in Hells Kitchen with his Puerto Rican girlfriend Lucy, who makes ends meet as a prostitute. A typical day finds Bobby selling 20 bags to neighborhood locals and passing cars. A yuppie kid looking to score a kilo of coke approaches him to broker a deal and Bobby sees the opportunity of a lifetime to make some real money. His rough days may just be over. With the tidy profit he could even leave the business.
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Just Add Water
An offbeat romantic comedy about a decent guy, Ray Tuckby, with a dead-end life in the dead-end town of Trona, CA. After encouragement from a stranger whom he happens upon, Ray begins to dream again. He sheds the parasites in his life, musters the nerve to pursue his childhood love, and finally takes back his community by toppling the local teenage Meth-baron.
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Higher. Faster. Harder.
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San Francisco heiress Page Forrester is brutally murdered in her remote beach house. Her husband Jack is devastated by the crime but soon finds himself accused of her murder. He hires lawyer Teddy Barnes to defend him, despite the fact she hasnt handled a criminal case for many years. Theres a certain chemistry between them and Teddy soon finds herself defending the man she loves.
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