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Do you remember the time during your adolescence when you started to see your parents as people rather than just… well, your parents? Scott Bartlett (Rory Culkin) goes through this stage of his teen years in Lymelife. The backdrop of the film is Long Island, New York in 1979. Scott Bartlett is the younger of the two Bartlett boys. His older brother Jimmy (Kieran Culkin) joined the Army and only comes home to visit. Scott’s father Mickey (Alec Baldwin) is a successful real-estate developer. His mother Brenda (Jill Hennessy) is dealing with trying to ignore some of her husband’s less faithful qualities while also missing Queens and praying regularly that Scott doesn’t contract Lyme disease.
Don't Be Afraid of the Dark
Any time a film has Guillermo del Toro's name attached to it, a viewer has some fairly standard and somewhat high expectations. A child protagonist, strange otherworldly creatures, a haunted house. Del Toro's Spanish-based work, The Devil's Backbone and Pan's Labyrinth, have the perfect combination of adventure, fear and mysticism. Del Toro wrote the screenplay for and produced Don't Be Afraid of the Dark, which has many of his signature tropes. This film is admittedly not up the standards of his previous work, which might be due to the American influence that does not allow for as much subtlety and sophistication. Still, it is a better-than-average horror fantasy film with a decent story and enough scares to keep it entertaining.
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A story aimed directly at your heart, Personal Effects brings with it all of the ambivalent emotions that one encounters over the unexpected loss of a loved one. That’s a good thing in this case, too — since that’s what the movie is about to begin with.
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1968 Tunnel Rats
The year is 1968 and a new group of recruits have arrived at an isolated U.S. Army camp in the Vietnamese jungle. They will be expected to flush out the enemy from the vast network of tunnels the Viet Cong have created under the ground, but first they have to get used to the terrible food the're expected to eat, and face up to their brutal sergeant (Michael Paré), never mind the possible fate at the hands of the opposing army. The sergeant has ordered a prisoner they have captured to be executed, something the troops have little stomach for, but this is merely part of the ongoing horrors of war...
What's this? An Uwe Boll film not based on a computer game? Yes, it's true, for this was a Vietnam War movie based on a story by Boll's regular producer Dan Clarke, although scripted by the notorious co-producer and director. In essence this was his version of Platoon, and looks very similar to that spate of eighties works on this subject, with plentiful swearing, bloody death and a supposedly clear-eyed and regretful look at the conflict. Funny thing with this is that although we get a fairly good idea of the camp and the tunnels, you're less convinced that there is any extensive combat going on elsewhere.
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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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Time travel movies meddle with paradoxes and causality - these things lie at the core of their essential fascination. The difference between a good time travel movie and a bad one often rests with one simple quality: Having established a set of "rules" by which the paradoxes are governed, does the film remain constrained by them or does it mutate them to fit the circumstances? Unfortunately, Premonition is plagued by inconsistencies. There's some interesting material in the film about pre-destination and questions about whether it's possible to change fate, but the movie is less interested in the philosophical implications of this than it is in developing a mystery and seeding red herrings.
I recommend The Last Kiss, but not without a misgiving or two. This movie is essentially a celebration of yuppie angst. It's about people in their late 20s who have issues with commitment and monogamy, who have lost their way and are trying to find themselves. Essentially, it's about middle age crises for people who are only a little more than half-way to middle age. The protagonist is obnoxiously self-centered, yet we are supposed to sympathize with him and (at least based on the ending) forgive him for some of the crass things he does. Nevertheless, I liked The Last Kiss because, no matter how self-absorbed some of the characters are, they are three-dimensional. People will identify with them. Not all the stories have tidy endings. And there's some wonderful dialogue to go along with the exceptional performances. This is one of those movies where you're willing to overlook the flaws in order to appreciate what's worth lauding.
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Being John Malkovich
These days, critics (and non-critics, for that matter) are fond of complaining about how multiplexes are populated by cookie-cutter motion pictures that follow safe, formula-derived patterns designed to please audiences who want a different version of a story they have already seen dozens of times. And, while there's some truth to the maxim that "there's nothing new under the sun," Being John Malkovich tries hard to be the exception. Admittedly, the themes addressed by the movie - those of identity, celebrity, and manipulation - are familiar, but the manner in which director Spike Jonze and writer Charlie Kaufman address them is fresh and inventive. I'm not arrogant enough to claim that nothing like Being John Malkovich has ever previously been committed to celluloid, but, if it has been, I haven't seen it.
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It was bound to happen: a dud for Pixar. Making a sequel to 2006's Cars was always something of a head-scratcher. The original movie, while possessing a certain charm, was among the studio's least inspired efforts and the death of Paul Newman (Cars was his final big-screen role) left a hole at the emotional center (the student/mentor relationship between Owen Wilson's Lightning McQueen and Newman's Doc Hudson). The development of Cars 2 seems to have been driven as much by merchandising wants as creative needs. After all, it's easier to sell cars than Ed Asner. The Disney/Pixar label assures box office success but, especially in the case of a high profile family film, that has minimal correlation with actual quality. And, although it would be unfair to label Cars 2 as unwatchable, it is surprisingly tedious in parts and not as satisfying as one might expect.
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Alias - Season Four
One of the only consistent things about the spy series Alias is change. Creator J.J. Abrams seems to be unable to resist the urge to punch the reset button on his creation at regular intervals. Whether it's a sudden mid-season takedown of the evil SD-6 organization to the Season Two cliffhanger finale which found plucky pink-eared superspy Sydney Bristow (Jennifer Garner) waking up to find that two years had passed and her boyfriend, Michael Vaughn (Michael Vartan), married to a woman who turned out to be an evil enemy agent, Abrams never hesitates to shake up the snowglobe of the Alias universe.
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Despite the efforts of Ripley and the space marines in the film Aliens, an embryonic alien infiltrates the starship. It accidentally triggers the ships emergency systems, dropping the escape capsule to the surface of a nearby planet. Ripley finds herself in a prison colony peopled by a religious cult composed of former murderers and rapists. Meanwhile, the alien has managed to grow into a new and deadly form, and is picking off the weaponless prisoners. Ripley soon discovers, much to her horror, that the real danger is much more personal...
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Crack in the World
Dr. Steven Sorenson plans to tap the geothermal energy of the Earths interior by means of a thermonuclear device detonated deep within the Earth...
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Itty Bitty Titty Committee
Anna is a young lesbian high school graduate who still lives with her parents, and works as a receptionist in a plastic surgeons office. She embarks on a wild ride when she hooks up with a cadre of ultra-radical feminist lesbians hell-bent on raising hell. But things get even more complicated when Anna falls in love with Sadie, the radical groups leader whos already involved with an older woman named Courtney.
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Already heralded as sick, sordid and vile before it had even been released, KILLER BITCH aims to shock like all good British gangster films should. The plot sees a woman blackmailed into a deadly game in order to protect the lives those she loves. The sexy Yvette Rowland, hard-nut actorcage-fighter Alex Reid and former World Boxing Champion Robin Reid head a cast packed with genuine criminal legends including Dave Courtney and the notorious Howard Marks.
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Kung Fu Flid
Jimmy Loveit, born with shortened arms due to thalidomide, is a talented kick boxer despite his handicap. Ably coached by Ron, Jimmy is a formidable opponent for anyone in the ring. One night, whilst snuggling up with his wife and daughter, their apartment is attacked by two gangsters whove mistaken their flat for someone elses. With his wife injured and his daughter missing, Jimmy starts a one-man war against the crime boss who sent the hit men
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Lying in Wait
Young bachelor Babee is looking after his dead mothers estate when married couple Keith and Vera move in. Babee becomes attracted to them by the beautiful Vera and the risk taking Keith. However at a party Vera crashes her car, putting Keith into a coma. When Keith comes out he is in a semi-vegetative state and must rely on Vera to look after him. Keith cant move or speak but reveals to Babee that he can still talk and starts to kill those that wronged him with Babees help.
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