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Crank High Voltage
"He's strong to the finish, 'cause he eats his spinach…"
Usually the above jingle would culminate, naturally, with: "He's Popeye the sailor man!" But it comes to mind when discussing the highly entertaining Crank High Voltage not only because of the film's overtly cartoonish approach, but also for its main character's constant reliance on an external energy source in order to get the job done. Of course, whereas our favorite cockeyed sailor only needed a can of green vegetables in order to pummel Bluto, High Voltage's Chev Chelios requires something a bit more modern -- namely electricity, and lots of it.
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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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Director D.J. Caruso takes the next step forward towards being Hollywood’s newest blockbuster thriller director in Eagle Eye. He re-teams with star Shia LaBeouf, whom he found success with in Disturbia by borrowing generously from Rear Window. But Caruso doesn’t want to be Hitchcock, far from it. With Eagle Eye he’s making his play to become the next Michael Bay.
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Big Fat Liar
A take on the classic tale 'The Boy Who Cried Wolf', this is the story of a 14-year-old boy named Jason Shephard who lies for the fun of it.
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Underworld: Rise of the Lycans
I'll admit to being surprised that the Underworld series has reached a third installment. Apparently, these films aren't that expensive to make because they have never been big box office performers. With the second movie, Underworld: Evolution, having wrapped up things too neatly for this production to continue moving forward, the filmmakers have elected to do some backtracking. This is an "origin story" - one that returns to the beginning and chronicles how the vampire/werewolf war started. The limitations of the Underworld saga are on display: the storyline essentially replicates that of Underworld and Underworld: Evolution, meaning that if you've seen one or both of them, there's no compelling reason to spend your hard earned dollars on the third.
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Midnight in Paris
From time-to-time, I suppose we all succumb to daydreams of what it might be like to have lived during a different, perhaps simpler era. Filmmaker Woody Allen, whose cinematic recipes have often incorporated more than a pinch of nostalgia, embraces this conceit with his 2011 effort, Midnight in Paris. An odd creation by some standards, this production is neither pure drama nor true comedy. It is too light and airy to touch the emotions in more than a fleeting fashion, and its humor is gentle and low-key, rarely exhibiting the edge associated with Allen. Instead, Midnight in Paris is a fairy tale, a parfait of whimsy. The film is constructed in such a way that suspension of disbelief isn't too hard because there's something universal in what Allen explores. Like Santa Claus, we know it's not real but the idea is so appealing that we go along with the fantasy.
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Wallace & Gromit: The Curse of the Were-Rabbit
After a 10-year absence, Aardman Animation's foundation characters, Wallace & Gromit, have returned. The clay man and his dog, who were featured in three animated shorts between 1989 and 1995, were left out in the cold when Nick Park and his crew made their feature-length debut with 2000's acclaimed Chicken Run. At the time, fans pondered Wallace & Gromit's fate, and Park was quick to reassure them that the dynamic duo would be front-and-center for his next movie. Five years later (it takes a long time to make these stop-motion films), Park has kept his word. Wallace & Gromit: The Curse of the Were-Rabbit gives mainstream audiences their first opportunity to meet the pliable characters with a cult following.
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Love in tennis doesn't have to be bad, as Richard Loncraine's Wimbledon shows. A formulaic motion picture that delights in spite of (or perhaps because of?) its reliance upon conventions, Wimbledon is the kind of movie that allows the non-cynical movie-goer to sit back and relax in the presence of actors who work well with each other and a script whose familiarity is an asset. It's rare for any motion picture to successfully combine the clichés of the sports and romance genres, while keeping a balance between them. In recent years, I can name only two: For Love of the Game and The Cutting Edge. To that select group, Wimbledon can be added.
The Quiet is a psychological thriller from director Jamie Babbit (But I'm a Cheerleader) that takes viewers to darker places than those to which one is typically transported in movies of this sort. The subject matter includes four kinds of abuse: physical, emotional, sexual, and substance. All of the main characters have secrets and/or engage in manipulation, and there's a lot going on in the unpredictable currents beneath the surface. The production is not without weaknesses - there are times when the proceedings become too lurid and the denouement feels unnecessarily protracted - but overall this is a compelling and sometimes disturbing motion picture.
Maverick may be as close as anything comes to a perfect summer movie (as opposed to a perfect movie). It has great action sequences, more than a splash of legitimately-funny humor, solid performances from engaging actors, and a script that doesn't demand much mental exercise. This is pure entertainment that gets the 1994 summer season off to a running start.
With a mostly female cast and a poetic title, it might be easy to assume that Paradise Road is a 1997 version of Mike Newell's effervescent Enchanted April. However, apart from those stated similarities, there's little to connect the two films. Enchanted April brought the audience on a vacation along with a group of women. Paradise Road takes us to a World War II concentration camp for Dutch and English-speaking women.
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When his father dies, Terry (Gary Sinese) returns to the house where he grew up, planning to stay only long enough to clean and settle the estate. Yet something indescribable keeps him there longer than expected. Soon, he is reunited with memories and people from his past and his life is changed forever.
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The film focuses on several characters. One of the main protagonists, Dean (Justin Long), has been a waiter for four years since graduating from high school, and hasn't earned a degree during his four years at a community college. When Dean learns from his mother (Monica) that a former high school classmate, Chett (Travis Resor), now has a bachelor's degree in electrical engineering, he begins to rethink his direction-less life. Dean's lecherous friend and co-worker, Monty (Ryan Reynolds), is in exactly the same situation, but has accepted that his future lies with the restaurant, Shenaniganz. Monty is put in charge of training Mitch (John Francis Daley), a newly hired waiter who is constantly interrupted throughout most of the film. Also working with Dean is Calvin (Robert Patrick Benedict), a hopeless romantic who cannot hang onto a relationship, and Dan (David Koechner), the uptight manager who is grooming Dean as his protégé. Rounding out the staff are 17-year old hostess Natasha (Vanessa Lengies), abrasive waitress Naomi (Alanna Ubach), waitress (and Monty's ex-girlfriend) Serena (Anna Faris), Dean's girlfriend and fellow waitress Amy (Kaitlin Doubleday), stoner bus-boys T-Dog and Nick (Max Kasch and Andy Milonakis), head chef Raddamus (Luis Guzman), the insane, unsanitary chef Floyd (Dane Cook), and the pensive and philosophical dishwasher Bishop (Chi McBride).
In South Boston, where Irish roots run deep and Catholic tradition reigns, two brothers face similar hardships but lead far different lives. While older brother Terry descends into drugs and crime, 16-year-old Cole vies to make the state baseball championships - but must struggle to withstand his brothers destructive influence. When the two inevitably clash in a life-and-death confrontation, family ties-and futures-are at stake.
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The gorgeous and sexy Claire Dennison is the successful manager of the advertisement agency Image Engine and married and in love with the middle-aged psychologist Jonathan Dennison. Their life is perfect but Jonathan is not good in bed, frustrating Claires desires. When a colleague suggests Claire to fantasize with Jonathan to bring passion to their relationship and have kinky sex with her husband, she pretends to be a sexy Italian but Jonathan does not participate in the game, and Claire asks him to play the Italian lover Robert in the future. When Claire travels in a job assignment, she sees Jonathan fashionably dressed and wearing a different hair style in the hotel lobby and she drags him to her room and has kinky sex with him. Then they schedule through e-mail a next encounter in New York in the morning, Jonathan calls Claire in the cell phone and she realizes that the man on her bed is a complete stranger. Sooner the man stalks Claire and introduces himself to her as Simon Phillips she discovers that the Simon is psychopath obsessed for her and jeopardizing her married life.
Make-Out with Violence
MAKE-OUT with VIOLENCE is a genre-bending tale of a boy trying to fulfill his unrequited love for a girl who has risen from the dead. It tells the story of twin brothers Patrick and Carol Darling, newly graduated from high school and struggling to come to terms with the mysterious disappearance of their friend, the bright and beautiful Wendy Hearst. When a drive through the countryside surrounding their suburban community leads to the discovery of Wendys mysteriously animated corpse, the boys secretly transport the un-dead Wendy to an empty house in hopes of somehow bringing her back to life. As the sweltering summer pushes on, they must maintain the appearance of normalcy for their friends and family as they search for ways to revive the Wendy they once knew, or, failing that, to satisfy their own quests for love amongst the living and the dead.
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