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The Green Hornet
Michel Gondry directs The Green Hornet, the long-gestating superhero action-comedy based on the classic pulp, TV and radio hero. Seth Rogen plays the title role of dissolute media heir Britt Reid, who finds his true calling after his stern father, Daily Sentinel publisher James Reid (Tom Wilkinson), dies. Partnering with a former employee of his family's estate, the enigmatic and multi-talented Kato (pop star Jay Chou), Britt and Kato don masks to fight crime as The Green Hornet and ... Kato. (His lack of a superhero sobriquet is a running joke in the movie.)
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In movies, it's usually the Devil who comes to Earth seeking to bring about Armageddon, but in Legion it's God who decides to destroy mankind. That's the premise of this apocalyptic thriller, a sort of cross between Assault on Precinct 13 and End of Days. The Archangel Michael (Paul Bettany), having defied a vengeful God, comes to Earth to save humanity. Why does God want to smite us all again (the first time was the Great Flood, remember)? Because after centuries of war and hatred, He's finally grown tired of our s**t. Michael, however, hasn't lost faith in humanity.
Apartment stager Anna Brady (Amy Adams) is so frustrated that her longtime cardiologist boyfriend Jeremy (Adam Scott) still hasn't popped the question that she falls for an old Irish legend that claims if a woman proposes to a man during a leap year (on February 29th) then he must accept. Anna secretly follows Jeremy to Ireland where he's attending a conference, but subsequently learns that the luck of the Irish is not all good.
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Confusion reigns in the new Sony Pictures release Dark Country, a tale of mystery, marriage and murder that unfolds against the backdrop of the foreboding Nevada desert. The film is long on style and short on information, eventually allowing the mystery to escape the boundaries of the frame and spill out into the audience. As Dark Country twists and turns, the confusion of the characters is ultimately matched, if not surpassed, by the confusion of the viewer.
Richard wakes up in a seedy motel room outside of Las Vegas with his new wife, Gina, beside him. Richard and Gina only met the day before, but they found in each other a shared desire to escape their former lives. Before setting out for their honeymoon in Sedona, Arizona, Richard is given an ominous warning by a man in a diner. He tells Richard not to stray from the main highway, lest his beautiful new wife suffer the same fate as the similar looking woman on the “Missing” poster hanging on the wall.
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It's interesting to note that, as Kevin Smith has changed and matured as a filmmaker, he has elected to close the circle and look back from a perspective of a dozen years at the movie that put him on the indie map, Clerks. Clerks II is a direct sequel to that movie, albeit one that transpires a decade later - the first such movie Smith has done (although many of his films have featured cameos by characters from other pictures). It feels both the same as and different from its predecessor: the same, in that the script is constructed around a truckload of nearly X-rated gags, and different, in that Smith is peddling a message.
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Untraceable engenders a reaction that is one part fascination, one part disappointment, and two parts frustration. The film, which has the ingredients for a thoughtful, tense thriller throws away a compelling first half so it can descend into silliness and clichés. For a movie that works overtime to establish credibility during its first half-hour, Untraceable leaves no predictable, formulaic stone unturned in its rush to a jaw-droppingly stupid conclusion. It's almost as if the filmmakers who made the first two acts were replaced by Uwe Boll collaborators for the final 40 minutes. Then again, it's possible to believe this of director Gregory Hoblit, who achieved something not dissimilar with his previous feature, Fracture.
Guilt and paranoia - two powerful cornerstones of the human psyche. In his latest, award-winning drama (it has captured about a dozen significant international citations), writer/director Michael Haneke explores both, although the manner in which he weds them is more uneven than satisfying. With Caché, Haneke has a lot to say, but the weaknesses of the film threaten to overwhelm its strengths. This is one of those movies that will pit lovers of narrative filmmaking against those who view the medium as something potentially more esoteric. The way he toys with his audience indicates that Hanke falls into the latter category, and lapses of logic in his storyline don't overly concern him.
"Hamlet" meets The Jungle Book - that's what The Lion King is - adding, of course, a few special touches all its own. Disney's 32nd animated feature film is its darkest since The Black Cauldron, and, in many ways, a departure from the light-heartedness of The Little Mermaid, Beauty and the Beast, and Aladdin. There are moments of fun and humor, to be sure, but the undercurrent is of a far more serious, "adult" nature.
The Lion King is primarily about guilt and redemption. Simba, a young lion cub and heir to his father's throne, is led to believe that he was the cause of the king's death. The trauma caused by this is so great that Simba goes into exile, attempting to find peace-of-mind through anonymity in the company of a warthog and a meerkat. But it's never that easy to escape the past...
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The Darwinian plight of a small Arizona town's youthful but aimless population leads to a series of strange confrontations in Lansdown director Tom Zuber's slacker-themed slice of life. While trim-and-tidy outward appearances give Little Athens the illusion of calm tranquility, a look at the life of the post-high school populace struggling to make ends meet betrays first impressions.
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On Easter Island, a young rabbit named E.B. (Russell Brand) is intended to succeed his father Mr Bunny (Hugh Laurie) as the Easter Bunny. Intimidated by the calling's demands, E.B. runs away to Hollywood to pursue his dream of becoming a drummer. Mr Bunny sends his three ninja royal guards, the Pink Berets (Janet Healy), to find his son. Meanwhile, Easter Chick Carlos (Hank Azaria) and his music-obsessed assistant, Phil (also Hank Azaria), plot a coup d'état against Mr Bunny to take over the Easter organization.
Kate & Leopold
In 1876, Leopold Alexis Elijah Walker Thomas Gareth Mountbatten, Duke of Albany, is a stifled dreamer. Strict Uncle Millard (Paxton Whitehead) has no patience for Leopold's disrespect for the monarchy, chastising him and telling him he must marry a rich American, as the Mountbatten family finances are depleted. His uncle has told him that on his "thirtieth birthday he had become a blemish to the family name".
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Son of the Mask
Ten years after the first film, Dr. Arthur Neuman (Ben Stein) is giving a tour of the hall of Norse mythology in Edge City Museum. A man in black comes in to view the hall. When Dr. Neuman reaches the part concerning Loki's imprisonment, the stranger becomes very angry and transforms, revealing himself to be Loki (Alan Cumming). The tourists panic and flee, but Dr. Neuman stays to argue with the angry god. Loki takes his mask, but realizes it is a fake. In anger he removes Dr. Neuman's still talking face from his body and puts it on the mask's stand before getting rid of the guards and storming out of the museum in a whirlwind of rage.
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The film is set in the British Crown Dependency of Jersey, in the immediate aftermath of World War II. Grace Stewart (Kidman) is a Catholic mother who lives with her two small children in a remote country house. The children, Anne (Alakina Mann) and Nicholas (James Bentley), have an uncommon disease characterized by photosensitivity (a special feature on the DVD indicates the disease is xeroderma pigmentosum), so their lives are structured around a series of complex rules
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The Mudge Boy
Duncan Mudge (Emile Hirsch) is a shy, isolated, sexually confused farm boy whose mother has recently died, leaving him under the supervision of a stern, depressed father. Duncan seems somehow to have transferred his love for the deceased mother to his favorite chicken, which he takes everywhere, even to bed. He has developed the odd habit of putting the chicken's head in his mouth -- to calm the animal, he says. Duncan also likes to dress in his late mother's clothing, much to the distress of his confused father. The small, insular band of redneck teens that comprise adolescent social life in Duncan's world initially ostracize him, then allow him in to their circle only reluctantly, and largely for their own amusement. Duncan is beset with a profound sense of grief while trying to reconcile himself to a world in which he is a sexual alien. His crush on one of the local kids, Perry (Tom Guiry), leads to a resolution of sorts.
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In this searing Southern drama, a mother and son reunite under desperate circumstances years after a family tragedy drove them far apart.
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Logan's War: Bound by Honor
Logan Fallon was ten years old when his prosecutor father was marked for murder by a gangster he was prosecuting. Logan has this uncanny ability to sense danger before it happens, and he sensed the gangsters hitmen coming and survived their attack but the rest of his family was not so lucky. Logan chose not to tell the investigator who killed his family cause he wants to get them himself. He is taken in by his Uncle Jake whos an ex Army Ranger and a martial arts expert, he teaches Logan martial arts and gets him into the Rangers so that he could prepare himself to go after the people who killed his family.
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