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For a movie based on a video game, there's a curious dearth of action in Max Payne. I know we've often complained that these movies were ALL action and NO substance, but this one has gone in the opposite direction. Well, except there's not really any substance, either. So it went in the opposite direction, but only part of the way. It stopped in the middle and is now a one-dimensional detective noir rather than an exciting shoot-em-up.
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World Trade Center
''This is not a political film. The mantra is 'This is not a political film.'" -- Oliver Stone, New York Times (July 2, 2006)
"It is one of the greatest pro-American, pro-family, pro-faith, pro-male, flag-waving, God Bless America films you will ever see." -- right-wing syndicated columnist Cal Thomas (July 20, 2006)
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Hamlet 2 (a great title) does not represent the first time in recent years that something unconventional has been done to one of the Bard's classics. (Although, to be sure, no one has been as audacious as to develop a musical sequel to a play.) Scotland, PA re-imagined Macbeth as a modern-day comedy. In A Midwinter's Tale, Kenneth Branagh developed a comedy centered on an amateur production of Hamlet. Years later, Branagh elected to adapt Love's Labour's Lost as a musical, using established standards. Aspects of all these productions can be found in Hamlet 2, not to mention swatches of Mel Brooks' The Producers and Christopher Guest's Waiting for Guffman. Despite the richness of the premise for comic invention, however, Hamlet 2 remains a rather mediocre experience, offering sporadic laughs but never achieving the level of consistent humor necessary to make this memorable.
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Talladega Nights (subtitled, The Ballad of Ricky Bobby) is, in many ways, just like every other Will Ferrell comedy: take some satire, add some hit-and-miss jokes, throw in a lightweight storyline, and let the lead actor be the catalyst that crystallizes these elements. Ferrell's ability to successfully fulfill that function is more dubious here than in his three best-known previous efforts, Old School, Elf, and Anchorman. The writing for those films was crisper, the humor less scattershot, and the overall effect more appealing. There are occasional moments of inspired comedy in Talladega Nights, but the film as a whole doesn't work. We're left ho-humming our way through one obligatory scene after another and wincing through a sting of failed gags until the next bit comes along that tickles our funny bone. It's a little like watching a current episode of Saturday Night Live (Farrell's showbiz alma mater) - you laugh a few times but, in the end, you wonder why you bothered.
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“Black Bread” starts of with a scene of such stunning violence—without giving too much away, it involves a sledgehammer and a horse, among a slew of other very nasty things—that it casts a shadow over the rest of the movie. Set in post-Spanish Civil War Catalonia, the film creates an atmosphere where the potential for death and hostility to erupt exists around every corner, in every situation. From the outset you learn that no place is safe; not the family hearth, government offices, and certainly not the multitude of caves, woods, and fields where the 11-year-old Andreu (Francesc Colomer) grows up.
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Sideways is from Alexander Payne (Election, About Schmidt), whose films simultaneously satirize and observe life in America. Unlike David Lynch, who uses saws and butcher knives to dissect the American dream, Payne prefers a scalpel. Lynch often ridicules his characters (and sometimes the audience), but it's clear that Payne likes the individuals he uses to populate his films, even though they're not always the nicest of people. Sideways looks at one of the oldest and oddest of "civilized" conventions: the bachelor party. Using this as a springboard, the movie becomes about friendship, love, sex, and wine.
When the collaboration of Steven Spielberg, Jeffrey Katzenberg, and David Geffen on a new production company was first announced, it became the talk of the entertainment world. Soon, deals were being signed, contracts inked, and films placed into pre-production. Now, more than two years later, Dreamworks SKG is ready to release its first motion picture. Much is riding on the pairing of George Clooney and Nicole Kidman in The Peacemaker, a marginal thriller that isn't likely to electrify the early Autumn box office.
When a Man Loves a Woman
The previews for When a Man Loves a Woman do this film an injustice. Heavy on poorly-edited melodramatic sequences, they give little inkling of the level of emotional honesty attained. Luis Mandoki's film succeeds not because it tackles alcoholism, but because it faces up to the trauma that eats away at the lives of the non-alcoholics in the family.
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It's the romantic buried inside each of us that responds to movies like Emma. Sure, the film, like the Jane Austen novel upon which it is based, is laced with wit and sophistication. And, although it contains enough social commentary and character development to lift it well above the plane of genre romances, Emma is still primarily about lovers finding each other during a simpler age (Austen published her novels in the early 19th century).
With Emma, we're certainly not investigating virgin territory. In the wake of Persuasion, Sense and Sensibility, and A&E's stupendous Pride and Prejudice, there's not a great deal of mystery about the audience to which Emma will appeal. Although the plot differs slightly from the other Austen books-to-movies, many of the themes and riffs are the same. More than one marriage is arranged (five, to be precise), the heroine is a strong-willed woman with a disdain for social conventions, the "principal" couple doesn't find love until the closing moments, and there's at least one scene of ballroom dancing.
Opposite of Sex
The turning point in Christina Ricci's career came when she chose to appear in Ang Lee's The Ice Storm. Since then, nothing has been the same for the up-and-coming performer. Before the 1997 feature, Ricci had turned up in host of bland, family-oriented features as an innocent young girl. Although the films were often easy to dismiss, the actress' consistently fine performances were not. Finally, with The Ice Storm, Ricci was given a role of import in a film of substance. Her portrayal of a sexually voracious teenager who sleeps with boys of her age (and younger) is riveting, and it ignited a phase in Ricci's career that has had her playing a drug-addled artist (Fear and Loathing in Las Vegas), an alluring hostage-turned-girlfriend (Buffalo 66), and a promiscuous young woman who uses her sexuality as a weapon (The Opposite of Sex).
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Erotic Survivor ?? a voyeuristic game d???d?d b? wits, willpower ?nd wild eroticism ?? two teams stranded ?n a remote tropical forest battle th? elements ?nd themselves t? see wh? w?ll come out ?n top ?nd win th? million dollar Grand Prize. F?r th? ?ll-girl team th?t quickly discovers ?ts m?d? up ?f full-blooded, hot-bodied lesbians, ??? ??n b? sure each ?f th?m w?ll wind up ?n top several times!
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When the young Iris Murdoch meets fellow student John Bayley at the University of Oxford, he is a naive virgin easily flummoxed by her libertine spirit, arch personality, and obvious artistic talent. Decades later, little has changed and the couple keeps house, with John doting on his more famous wife. When Iris begins experiencing forgetfulness and dementia, however, the devoted John struggles with hopelessness and frustration to become her caretaker, as his wife's mind deteriorates from the ravages of Alzheimer's disease.
The story of the women on the KLM flight that won the 1953 Air Race from London to Christchurch, New Zealand.
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Takes place in 1995, the year of the second referendum on the separation of Quebec. In the dead of winter, a serial killer is on the loose in the small Montreal neighborhood of Notre Dame de Grace. The tenants of an old apartment house must figure out who they can trust and who they cant.
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Shy and awkward 15-year-old Merseyside teenager Nicole (Kerrie Hayes) nurtures a lonely crush on fictional Liverpool Fc footballer Lee Cassidy. Waiting to catch a glimpse of him at the stadium gates
Maniac Cop 2
Officer Matt Cordell, the undead cop, returns from the grave. Again. This time he is after the criminals who murdered him in the prison, and he is not doing that because he wants to forgive them...
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