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There's a fine line between whimsical and weird, between stupid and strange, and the uber-quirky Gentlemen Broncos unfortunately lives on the wrong side of it. Writer-director Jared Hess, best known for creating that over-hyped, though semi-charming cult favorite Napoleon Dynamite, returns with his third film -- a bizarre take on B-grade sci-fi literature that drowns in a sizeable pool of its own ridiculousness. Hess creates a relatively believable, lower-class, Mid-Western world and fills it with lifeless, unbelievable characters who, unlike Napoleon before them, can't be redeemed by their own personal oddities.
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One imagines that The Collector must have had one of the most successful pitches in Hollywood, boasting a log-line that represents the epitome of the high-concept big idea: What if a thief broke into the home of a serial killer? It's the kind of line that gets your mind working overtime, imagining the bloody, suspense-laden scenario of a post-Hostel game of cat-and-mouse. You can already envision the poster, the killer's mask, the money, the sequel. It's clever, but not too-clever. It's cheap to make, easy to cast and plays in a genre that people will pay to see. Slap the phrase, "From the writers of Saw IV, V & VI on the one-sheet and you've got yourself a movie.
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Fantastic Mr. Fox
“Fantastic Mr. Fox” is a proudly analog animated entertainment, making its handmade way into a marketplace glutted with digital goodies. Next to the three-dimensional, computer-generated creatures that swoop and soar off the screen these days, the furry talking animals on display here, with their matted pelts, jerky movements and porcelain eyes, might look a little quaint, like old-fashioned wind-up toys uneasily sharing the shelf with the latest video game platforms.
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The Other Boleyn Girl
The Other Boleyn Girl, based on Philippa Gregory's novel about the relationship between Henry VIII (Eric Bana) and Anne (Natalie Portman) and Mary (Scarlett Johansson) Boleyn, gives you everything you've come to expect from a modern historical drama. The costumes are gorgeous; the lighting's suitably muted. The drawing-room scenes are like something out of Rembrandt; the kitchen scenes like something out of Bosch. There are a great number of shots of people striding purposefully out of dark rooms, or of horses racing across the landscape, their speed unimpeded by the gravity of the news their riders bring. Personal squabbles turn into political struggles; moments of passion are contemplated as possible foundations for 100-year dynasties. There are fights and tights, gowns and frowns, tears and blood and sweat.
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You may have to look long and hard to find a 2005 movie with as cynical an outlook on global politics as Syriana. Sadly, this is a situation when the cynicism is understandable. In addition to painting a bleak picture, Syriana makes no concessions to impatient audiences or viewers with short attention spans. The density of narrative is remarkable considering the Hollywood trend toward simplification. This movie is plot-driven from start to finish, and it needs all 126 minutes to tell the whole story. It takes approximately three-quarters of that time before we see the pattern as more than just a random interweaving of threads. Give up on or lose track of Syriana and the payoff won't be as forceful.
During the Spring of 1990, I remember being transfixed in front of the television set for an hour each Sunday night over a period of five weeks. The occasion was the "Masterpiece Theater" presentation of the British mini-series "Traffik", a complex narrative that explored the lifecycle of heroin - from its origins as opium in the fields of poor Pakistani farmers to its distribution across Europe and its use on the streets of England. Powerfully scripted and flawlessly acted, "Traffik" remains to date one of the most memorable programs ever to air on the venerable PBS showcase of British drama. Now, more than a decade after "Traffik" was produced, American director Steven Soderbergh and screenwriter Stephen Gagen have chosen to re-invent the mini-series as a theatrical motion picture. The result is a thematically faithful (albeit truncated) version that retains much of the strength and impact of the original.
Contact is likely to change a lot of perceptions -- not only about the role of humankind in the universe, but about what special effects can do for a movie when they're used in the service of a story, rather than the other way around. Contact is that rare big-budget motion picture that places ideas, characters, and plot above everything else. The film takes the richness of astronomer Carl Sagan's bestselling 1985 novel and re-invents it for the screen, retaining all the power and fascination of the book while adding a visual aspect that will not disappoint devoted fans. Contact is as close as recent Hollywood productions have come to a perfect example of cinema. All the elements are not only in place, but effectively realized. This is the kind of motion picture that restores one's faith in what can be produced when a large budget is used wisely.
He may be able to turn somersaults 6ft above the ground, dice furniture with his fists and crack a winning smile when called upon... but can Jackie Chan carry a movie?
His biggest success - the Rush Hour series - substantially relied on his chemistry with Chris Tucker and the latter's ability to deliver a funny line.
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Dr. Alice Dodgson (Jennifer Grey) gets her medical license revoked and is fired from her job after the death of a patient. After being fearful of a patient's words of voodoo cults, she travels to Jamaica. There, she realizes that she, and her patient Wesley Claybourne (Daniel Lapaine), are the target of a voodoo cult.
On the Line
Kevin (Lance Bass) is an advertisement employee, who meets a girl named Abbey (Emmanuelle Chriqui) on Chicago's 'L' train and is too shy to ask for her phone number.
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Four individuals, from different walks of life, meet on a train destined towards Mumbai. They are Bobby (Dino Morea), Omi (Rohit Roy), Lucky (Sanjay Suri) and Jai (Bikram Saluja). They immediately become friends as they are alone, and only Jai has someone to live with.
Carlito's Way: Rise to Power
The story begins in the 1960s with three inmates in a New York prison — Earl (Van Peebles), Rocco (Kelly), and Carlito (Hernandez) — controlling their criminal empire within their cell. Upon their release, they all look to control the drug trade in Harlem, which is currently in a power dispute between the Italian Bottolota crime family and black gangsters led by Hollywood Nicky (Combs). Rocco takes them to Artie Bottolota (Young) who at first is reluctant to work with blacks and Puerto Ricans, but who eventually cuts a deal with them in heroin distribution. The friends also meet Artie's son, Artie Jr. Soon, Earl's troubled younger brother Reggie joins them. After Artie Jr. offers to shake hands with Reggie, when he sees he and Carlito at a strip joint, Reggie turns him down, saying "my brother was doing fine without you". Artie Jr. insults Reggie with a racial slur, spurring Reggie to curse him and spit in his face. Artie Jr. assaults Reggie, but the fight is broken up. Carlito
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It's a Free World..
Angie (Kierston Wareing), a young woman frustrated after being fired from her thirtieth dead-end job, decides to set up a recruitment agency of her own, running it from her kitchen with her friend and flatmate Rose (Juliet Ellis). Angie is able to build a successful business, while also dealing with a neglected son who gets in trouble at school and parents who disapprove of her venture. She also has to keep reassuring Rose that they will become legitimate once the business is on a firm financial footing - they do not have a licence, but Angie at least insists on only hiring workers with papers, not illegal immigrants.
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Perry Roberts is about to graduate from a prestigious private college. The son of a corrupt Congressman, Perry has lost faith in all the things he held true - his family, girlfriend, and the American Dream. He finds himself emotionally bereft and depressed. In search of self-discovery, Perry meets Giovanni, an art student with an unrealized gift, Giovanni is Perrys polar opposite. Raised by abusive parents and placed into a series of foster homes, Giovanni is brooding and nihilistic. He lives in an altered state full of drugs and sex, capped by a deadly game with a gun and a single bullet! Perry sees Gio as a free spirit, incorruptible and impervious to the pressures of society. Gio believes Perry to be a spoiled rich boy dabbling in existential angst. Perry needs Gio to believe that his pain is real, while Giovanni implores Perry to play his game of Russian roulette to prove the validity of his suffering. As Perry and Gios relationship evolves, and drug-fueled emotions churn, their fates linger at the tip of a revolver with a single bullet. Perry sets out on a quest to save Gio. The only question is, is he in time or too late?
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Michael Bosworth is a psychotic criminal who is about to go on trial however, he seduces his lawyer into helping him escape. But as they try to make their getaway, shes left behind. He decides to wait for her to come to him, so he decides to hide at the house of the Cornells. Now it appears that the Cornells have problems of their own. The husband and wife are separated. And theres an FBI agent after them who is using the lawyer to lead them to Bosworth.
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Californication - Season Four Epizod
Hank Moody may be a talented author, despite his gift of the gab, especially for live seducing, his private life is a mess. Repeated attempts to have a stable relationship with Karen, also for the sake of their daughter Becca, fail because of their extreme libertarian infidelity. Hanks sexual appetite also infects talent agent Charlie Runkle, who indulges in all kinds of naughtiness too. More victims of hormones contribute to the lustily lust-loaded plot.
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