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Dead Man Running
When illness causes his mother (Brenda Blethyn) to need a wheelchair, doting con Nick Kane (Tamer Hassan) goes straight, opening a travel agency with a £100,000 loan from sinister gangster, Mr Thigo (50 Cent). But when the credit crunch bites, mean-spirited Mr Thigo calls in his loan and gives Nick 24 hours to pay – or his mum gets it. With best mate Bing (Danny Dyer) in tow, Nick first tries to raise the readies legally but soon slips back into his old ways of intimidation and violence.
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Adam Sandler lives to live out our fantasies on screen. He’s the little boy inside us all; the fat, dumb kid who wants to be a spy, a football star, or beat Bob Barker at golf. He accomplished all of this even though, much like our awkward pre-teen selves, he never really seems to have much talent for it. In Happy Gilmore he defeats Shooter McGavin mostly because he’s angry, and not because he’s good at golf. In Billy Madison he makes the grade and gets the hot chick not because he’s smart or even very good looking, but because he’s funny in a dopey sort of way. Adam Sandler’s on screen life is a never ending adolescent daydream, unrealistic but ultimately satisfying, making him the perfect choice to play a man thrust into the fantasy world of kids in Bedtime Stories. Unfortunately scripts cannot be written by raw anger unless there’s ability there to channel it and dopiness (even the cute and loveable variety) merely results in a dopey script. Making movies requires real talent and behind the scenes of Bedtime Stories there must have been a serious shortage.
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See Paris and die is the old saying, but when you venture down below the city of lights into the catacombs you may find that there’s something that will assist you in the dying part of the phrase.
Victoria (Shannyn Sossamon) gets a postcard from her sister Carolyn (Alecia Moore, aka Pink) saying that she should come to Paris that that the trip will “change her forever.” Carolyn takes Victoria to a party that’s hosted by Jean-Michel (Mihai Stanescu) in the legendary catacombs that are under the streets of Paris. The catacombs have been a repository of the dead since the 18th century and the bones have been crafted into macabre works of art.
Hobo with a Shotgun
Ever since genre fanatics like Steven Spielberg and George Lucas took over the movie industry throughout the late ’70s and early ’80s, people have been saying that b-movies have become the new a-movies. However, today that has become even more true with big name directors like Quentin Tarantino and Robert Rodriguez literally attempting to emulate the look and feel of the low budget grindhouse flicks that they grew up on. The truth is, these retro-style tributes are not always easy to pull off, and as the commercial failure of Grindhouse proved, they are not always easy to sell either. But every now and then someone manages to get it right, and Hobo with a Shotgun most certainly falls into that category.
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Mad Hot Ballroom
Mad Hot Ballroom is about ballroom dancing in the same way that Spellbound is about spelling bees and Hoop Dreams is about basketball. That is to say, tangentially. Although ballroom dancing forms the backdrop against which this uplifting documentary is set, Maryilyn Agrelo and Amy Sewell's co-production is about much more. In particular, it's about the children we meet and the process of maturation they undergo. Children and ballroom dancing? You read that right. This is what happens in and around a school program that teaches New York City elementary schoolers how to swing, tango, and do the rumba.
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I will be surprised if this film does well in New York City. Yankees fans, accustomed to success, are still smarting from last year's humiliating debacle, and a romantic comedy that capitalizes on the Red Sox's triumph is unlikely to pack theaters in the Five Boroughs.
Fever Pitch is a curious mix of smarts and schmaltz. The unusual combination derives from the group of creative collaborators involved in the film's development. The Farrelly Brothers, operating outside of There's Something About Mary territory, prove that they are as capable of bringing a generic, formulaic romantic comedy to the screen as they are of producing something more edgy. (Only one scene – involving vomit and a dog – can be called a "Farrelly moment.") The screenwriters are the team of Lowell Ganz & Babloo Mandel, who have elevated fake sentimentality to a high art. Their tendency towards artificiality is mitigated somewhat by the fact that they're adapting from a book by Nick Hornby (who retains an Executive Producer credit).
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Limits of Control
The Limits of Control is a modern fable set within the approximation of a thriller. The slow, repetitious nature of the film, as well as the lack of a strong narrative, limits the level of suspense writer/director Jim Jarmusch is capable of generating, but there is nevertheless an almost hypnotic compulsion to keep watching and find out how everything ends. The overtly political resolution, which is startling in its lack of complexity and insight, not only fails to satisfy but leaves a bitter aftertaste. Many viewers will feel cheated that, after handing Jarmusch two hours of their lives, there is too meager a return on their investment of time.
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The first encounter with the family of a spouse (or would-be spouse) can be a daunting experience, especially when their world is not yours, and vice versa. For his feature debut, director Phil Morrison (from a script by Angus MacLachlan) takes us into a melodrama-free zone for this story. A keenly observed slice of life, Junebug captures the little comedies and tragedies of everyday living. There is sadness and humor here, but all understated. The film is mostly about the details of the characters' day-to-day personal dramas - why the VCR won't record, where the screwdriver is, etc. Junebug requires a certain amount of patience from its viewers. Those who provide that will be rewarded in the end.
Team America: World Police
The North American anti-terrorist force Team America attacks a group of terrorist in Paris. Later, the leader of the organization, Spottswoode, invites the famous Broadway actor Gary Johnston to join his world police and work undercover in Cairo in a terrorist organization and disclose their plan of destroying the world. The Team America destroy the cell of terrorists, but then the Panama Canal is attacked by the criminals as a payback. Gary feels responsible for the death of many innocents and leaves the counter-terrorism organization. When the leader of North Korea, Kim Jong II, joins a group of pacifist actors and actresses with the intention of using weapons of massive destruction, the Team America tries to avoid the destruction of the world. Written by Claudio Carvalho, Rio de Janeiro, Brazil
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A successful New York attorney, Gavin Banek, is in a rush to file a power of appointment, which will prove a dead man signed his foundation over to Banek's law firm. He has a collision with another car, belonging to an insurance salesman, Doyle Gipson, who is also in a rush to a hearing to try to gain custody of his children and to prevent his estranged wife from taking them to Oregon. Banek tries to brush Gipson off with a blank check thereby disobeying the law. After Gipson refuses to accept the check and voices his desire to "do the right thing", that is, filing a police report and insurance claim, Banek strands Gipson, telling him, "better luck next time". After arriving to the court late, Gipson learns that it proceeded without him and that it didn't go in his favor.
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Harvey Pekar is file clerk at the local VA hospital. His interactions with his co-workers offer some relief from the monotony, and their discussions encompass everything from music to the decline of American culture to new flavors of jellybeans and life itself. At home, Harvey fills his days with reading, writing and listening to jazz. His apartment is filled with thousands of books and LPs, and he regularly scours Clevelands thrift stores and garage sales for more, savoring the rare joy of a 25-cent find. It is at one of these junk sales that Harvey meets Robert Crumb, a greeting card artist and music enthusiast. When, years later, Crumb finds international success for his underground comics, the idea that comic books can be a valid art form for adults inspires Harvey to write his own brand of comic book. An admirer of naturalist writers like Theodore Dreiser, Harvey makes his American Splendor a truthful, unsentimental record of his working-class life, a warts-and-all self portrait. First published in 1976, the comic earns Harvey cult fame throughout the 1980s and eventually leads him to the sardonic Joyce Barber, a partner in a Delaware comic book store who end ups being Harveys true soul mate as they experience the bizarre byproducts of Harveys cult celebrity stature.
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The Bridge of San Luis Rey
The film starts at a public hearing of a council lead by Diego de Parada, the Archbishop of Lima (De Niro). Bother Juniper (Byrne) defends his work and his conclusions to the Inquisition, trying to assess whether the people who died were worthy or unworthy of suffering such a tragedy. He analyses the lives of four of the characters and the film flashes back and forth between the hearing and the events that lead to the tragedy.
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Boa vs. Python
The film opens with a pro-wrestling bout in Atlantic City, New Jersey. Two masked wrestlers, one named "Boa" the other "Python", are grappling. Enjoying this spectacle is multi-millionaire casino owner Broddick (Adam Kendrick) and his girlfriend Eve (Angel Boris). Their night out is interrupted by a phone call. We cut to see the man making the call, Ramon. He informs Broddick that his "package" has arrived and is being delivered. Broddick is delighted and promises lucrative compensation to Ramon for his work.
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Edmond Burke is a city businessman who visits a Tarot fortune teller on the way home. She claims Edmond "is not where [he] belongs." He decides to make changes in his life, beginning by leaving his wife.
At a bar, Edmond tells a fellow patron he hasn't had sex in a while and that marriage took away his masculinity. The man gives him the address to a strip club, where Edmond is kicked out by a bouncer for not paying for a stripper's drink.
Tom and Josh Sterling have a start-up dot-com. Its gone public to initial success. Josh is the technical genius. Tom is the fast-talking and abrasive CEO, in charge of the business side. Its August, 2001, less than a month before they can sell their shares and, perhaps, make lots of money. But the company is running out of cash, its main client is stalling, and share values are falling. For Tom to maintain the firms appearance, he must find cash investors could rescue him, but at a high cost of his potential wealth and company control. Tom goes to his brother for a loan. At the same time, an old flame, Sarrah, comes back to the city. Can Tom hold things together, bravura and all?