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Wisegal is inspired by the true story of Patty Montanari, played by Alyssa Milano (Charmed, Who’s the Boss?), a widowed mother of two that became a trusted member of the Mafia in an attempt to do right by her kids. The executive producer of the movie is none other than Joe Pistone, the FBI agent whose undercover exploits inspired the movie Donnie Brasco.
In essence, Control is a standard order biopic of a tormented artist. What makes the film interesting, if not unique, is the style in which director Anton Corbijn has elected to present it. Rather than approaching the picture with the vivid psychedelic hues one might anticipate from a movie taking place in the drug-hazed world of late 1970s rock and roll, Corbijn has turned the clock back literally as well as figuratively and filmed Control in grainy black-and-white. The style makes it easier to represent Manchester as one of the world's most depressing places. The black-and-white not only makes it seem as if Control was made many years ago but gives audiences a dose of grimness of a place where it always seems to be gray and gloomy. (It is said that the climate of Manchester gives rise, at least in part, to the dark nature of the music that has its genesis there.)
Ruslan. Driven to Kill
Sadly, Steven Seagal is not really driven anywhere in Driven to Kill. The man is getting older, fatter (well, not that much fatter), and I thought this might be a geriatric revenge film on par with Death Wish 3. I wish someone had to drive him someplace so he could go kill someone, but the title is misleading on that front.
Steven Seagal. Direct to video. What do you need to know? You need to know that this is a fairly efficient and brutal action movie that manages to make the most of Seagal. There’s not much else to look for in this movie, though he does have an effective antagonist in Igor Jijikine, who is best known for being eaten by ants in Indiana Jones and the Terrible Movie. Seagal plays a father with mod ties who comes home for his daughter and he upcoming marriage. But his ex-wife (who he’d still fuck) gets murdered and his daughter ends up in a coma. Bad move, bad guys.
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Death Race 2
“‘Death Race 2′ takes place in the very near future, as the United States economy begins to decline and violent crime starts to spiral out of control. To contain the growing criminal population, a vast network of for-profit, private prisons springs up, creating a lawless subculture ruled by gangs, cold-blooded killers and sociopaths. The worst of these prisons is Terminal Island. Convicted cop-killer Carl Lucas (Luke Goss) arrives on the Island to serve his life sentence just as ruthlessly ambitious television personality September Jones launches the ultimate reality show, Death Race. A brutal prison yard demolition derby that pits prisoners against each other in steel reinforced, heavily armed vehicles, Death Race offers the winner the ultimate prize: freedom if he can survive to enjoy it. When Lucas signs up to be a driver, the stage is set for the birth of a legendary racer.”
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Ace Ventura: Pet Detective
As I’ve gotten older, I’ve gone back and watched a lot of movies that I enjoyed when I was a youngin’ and I’ve found a couple of things to be true. Movies that I overall enjoyed (ET, FERRIS BUELLER’S DAY OFF, etc.) hold up well today and remain some of my favorite films. On the other hand, movies that I enjoyed as a kid because they sparked a particular emotion, i.e. they were scary, funny or sad, I’ve found do not hold up well over time. ACE VENTURA came out when I was in junior high and at the time, it was comedy gold. Other than maybe WAYNE’S WORLD, I can’t think of a movie that I quoted more. However, a lot has changed since I first saw Ace Ventura grace the big screen and some of his antics just aren’t funny anymore.
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When a movie is made based on a book that millions of people have read, the first question asked often pertains to the faithfulness of the resultant cinematic product to its written inspiration. In the case of The Kite Runner, director Marc Forster and screenwriter David Benioff have taken pains to provide the best screen representation possible of Khaled Hosseini's best-selling novel. Time constraints have forced some changes and contractions but, on the whole, it's hard to imagine a more effective and affecting adaptation. The Kite Runner touches the heart and the mind - something increasingly rare in any movie not made with the express intention of winning Oscars. (The Kite Runner, it should be mentioned, will be in the running in several categories.)
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The Ladykillers is an interesting concoction - a faithful update of the original Ealing comedy cooked in vat of Coen Brothers' seasoning. Even though this is based on the 1955 British film of the same name, those unfamiliar with The Ladykillers' pedigree might mistake it for an original. It's an understandable error - The Ladykillers is at home with certain other Coen Brothers titles, namely Raising Arizona, The Hudsucker Proxy, The Big Lebowski, and Intolerable Cruelty. Although the plot closely tracks that of Alexander Mackendrick's original, many of the nuances, not to mention the funniest jokes, are pure Joel & Ethan Coen.
To lump The Pianist in with all of the other Holocaust stories brought to the screen does a great disservice to this powerful, compelling motion picture. Crafted without a whiff of melodrama, this motion picture takes a steady, unflinching look at the plight of Jews in Warsaw during the years when Poland was occupied by the Nazis. For director Roman Polanski, this represents his most effective film in nearly three decades. Not since 1974's Chinatown has Polanski reached such dramatic heights.
Any Given Sunday
It is well known that superlative film editing can save a mediocre motion picture. Sadly, the opposite can also be true. A case in point is Any Given Sunday, which, despite a potentially engaging story and a number of good performances, is at times unwatchable. The reason is simple: during post-production, director Oliver Stone frequently dipped into his bag of cinematic tricks to pull out quick cuts, slo-mo sequences, fades to black-and-white, and about a dozen other gimmicks. The film is restless to the point of distraction, and the audio is so pumped up that about a third of the dialogue is unintelligible.
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Starship Troopers 2: Hero of the Federation
Set on a planet inhabited by the Arachnids, a squad of soldiers find themselves pinned down and surrounded on all sides by Arachnid forces. Even with their new laser gun technology and assistance from psychic soldiers, the Arachnid assault overwhelms them and General Jack Shepherd (Ed Lauter) decides to make a last stand with several of his best soldiers, allowing the majority of his surviving troops to escape. The plan works, and the soldiers, including Sergeant Dede Rake (Brenda Strong), psychic Lieutenant Pavlov Dill (Lawrence Monoson), Private Jill Sandee (Sandrine Holt) and her lover Private Duff Horton (Jason-Shane Scott), and Private Lei Sahara (Colleen Porch) escape. Despite reaching relative safety, the team is whittled down by deadly storms and arachnid ambushes. Among these deaths is the only member of the platoon with a radio, Corporal Thom Kobe (Brian Tee). Lieutenant Dill finds himself unable to command his soldiers as he receives traumatic visions of utter annihilation. He takes his anger out on Private Sahara, who is revealed to have been psychic but lost reliable control of her psychic abilities as puberty took place, which seems to be rather typical.
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An ex-con returns to his rural Ontario roots and outwits a corrupt and wealthy thoroughbred owner trying to take over a slew of local farms. Ray Dokes, a charming ex-ballplayer, returns from jail to discover the rural landscape of his childhood transformed by urban development.
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Mars Needs Moms
A mischievous and rebellious nine-year-old named Milo (Seth Green, voice-over by Seth Dusky) is just beginning summer vacation, and his father (Tom Everett Scott) is leaving for a business trip. While Milo wants his summer to be a fun one, his mother (Joan Cusack) assigns him chores and tasks like taking out the trash. At dinnertime, Milo is given broccoli. His mother has a "no broccoli, no TV" rule which Milo cleverly evades by feeding the broccoli to his pet cat. When Milo's mother finds the cat throwing up from the broccoli, she grounds him and sends him to bed early. After a heated disagreement with his mother, Milo wishes that he never had a mom. Later that night, his wish comes true when his mother is kidnapped by Martians who plan to steal her "momness" to rear their own young. Milo's quest to save his mom involves stowing away on a spaceship, navigating an elaborate, multi-level planet and taking on the alien nation and their leader, the Supervisor (Mindy Sterling). With the help of tech-savvy subterranean-dwelling earthling Gribble (Dan Fogler), his bionic underground pet Two-Cat (Dee Bradley Baker), and rebellious Martian Ki (Elisabeth Harnois), Milo finds his way back to his mom.
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The movie begins with Detective Sergeant (DS) Tom Brant (Jason Statham), a hot headed police officer of turbulent South East London station, beating up 3 youngsters who were trying to steal a car.
Brant is approached by PC Elizabeth Falls (Zawe Ashton) asking to help her in passing Sergeant's exam. Brant advises her to give it some time as she had been out of the rehab recently (previously she was working undercover for Drug Squad and hence got addicted). Brant is also warned by his superior to control his actions, which include bugging the Superintendent's Office, beating a person unconscious in a billiards hall and the earlier assault on the 3 youths.
Brendan Behan, a sixteen year-old republican, is going on a bombing mission from Ireland to Liverpool during the second world war. His mission is thwarted when he is apprehended, charged and imprisoned in Borstal, a reform institution for young offenders in East Anglia, England. At Borstal, Brendan is forced to live face-to-face with those he perceived as the enemy, a confrontation that reveals a deep inner conflict in the young Brendan and forces a self-examination that is both traumatic and revealing. Events take an unexpected turn and Brendan is thrown into a complete spin. In the emotional vortex, he finally faces up to the truth.
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Bill & Ted's Excellent Adventure
The film opens in San Dimas, California in the year 2688 AD. Rufus (George Carlin) prepares to use a time-traveling phone booth to travel back to 1988 to ensure the Two Great Ones–Bill S. Preston, Esq. (Alex Winter) and Ted "Theodore" Logan (Keanu Reeves)–remain together to form the band "Wyld Stallyns", whose music will become the core of the future's Utopian society. Rufus finds that Bill and Ted are on the verge of failing their high school history class, and, should Ted fail, his father, Police Captain Logan (Hal Langdon) will ship him off to an Alaskan military academy, effectively ending the pair's dreams of forming a band.
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Henry Poole Is Here
In a working class neighborhood in Los Angeles, a world weary Henry Poole buys a house, caring little about its lack of amenities. He drinks and eats pizza. Recent stucco work has left a brown stain in a patio wall, and, to Henrys irritation, Esperanza, a neighbor, is certain she can see the face of Jesus in the stain. She brings her priest, then others. Meanwhile, Henry hears his conversations replayed over the fence in another neighbors yard its Millie, about 7, mute, clutching a tape recorder. He tells Millies mom why hes sad and angry. The face on the wall seems to shed a tear of blood. Is Henry beyond feeling any emotion?
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