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I have been waiting a while now to watch a good prison movie and one day I get a message from my friend saying, “Have you seen Celda 211? It’s an awesome movie.” I tell him “no” and then immediately IMDB it only to find out that it is an award winning Spanish movie set within the confines of a prison. Intriguing, I know. Anyway, I then read further and find out that the film is about a new prison guard who gets left in the prison after a riot breaks out and has to pretend to be a new prisoner in order to survive. This was a fresh take on the prison genre and so I couldn’t pass up the opportunity to watch it. The movie, as my friend says, was rather “awesome.” So if you like good movies, and especially good prison movies, then check out my review after the jump so that you can realize it is really worth your time.
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Quantum of Solace
Edgy close-ups of Daniel Craig's granite features give way to a spectacular high-speed chase around an Italian coastal road. Bullets fly, glass splinters, cars crunch, in a scene that - like many of the film's best - owes much to the quick-fire editing of the Bourne thrillers.
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The Morgue is a silly horror film rated R for violence and for the gratuitous and severe overuse of the worst word that you can use. Lisa Crilley stars as our illustrious and somewhat dimly-lit morgue worker/college student, Margo Dey. How long has she worked there? I wonder to myself, as she hasn't noticed what a bad place this seems to be.
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The Merry Gentleman, which represents the feature directorial debut of actor Michael Keaton, is a meditation on loneliness and about the things we do to fill up those big, empty gaps in life. Anchoring the film, which is driven more by characters than plot, are fine performances by Keaton and Kelly Macdonald and a screenplay in which the pauses between words are as meaningful as the words themselves. The style is unhurried and spare and, with an emphasis on religious iconography, the movie drives home the point that good and evil are perhaps not as easily defined as one might think. Perhaps those concepts are established in the eye of the beholder.
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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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What if they made a Jack Black movie and Jack Black didn't show up? That's sort of the feeling I get with The Rocker although, truth be told, Rainn Wilson does an admirable Black impersonation. This warmed-over, recycled stew brings the "comeback" concept so favored by sports movies into the rock-and-roll arena. It's pure formula, devoid of any creative impulses and, perhaps most damningly, the moments of genuine humor are too few and far between to be worth mentioning. For every clever line or amusing sight gag, there are fifteen minutes of lame dialogue and lamer plotting. The Rocker is more disappointing than it is outright bad. One expects something a little fresher from Wilson.
Good Bye, Lenin!
There's certainly no shortage of rich threads woven into the tapestry of Good Bye, Lenin! Wolfgang Becker's movie (produced by Stefan Arndt, who has been involved in everything by Tom Tykwer, from Run Lola Run to Heaven) offers the touching story of a devoted son's sacrifice for his mother, albeit with a couple of inventive twists. The story confronts the perversion of perception and the manipulation of reality. And, as if that isn't heady enough material, it tackles the confusing national identity crisis suffered by Germans when the Berlin Wall came down. Like twins reunited after a long separation, there was an awkward re-acclimation process that few films are interested in exploring. (Perhaps it takes a German filmmaker to do the issue justice, or perhaps to even recognize it at all.)
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Maybe it's just wishful thinking, but I believe Hollywood has a tendency to underestimate the teenage viewing crowd. While it's certainly true that a portion of that demographic goes to theaters only for the most superficial form of entertainment, there surely must be a thirst amongst high schoolers for movies of a more challenging and less formulaic nature. It is to them that the subject matter of Crazy/Beautiful applies; unfortunately, the narrative fails to live up to its potential. A hybrid of Mad Love and Save the Last Dance, Crazy/Beautiful boasts strong performances underutilized by a banal storyline that manipulates familiar characters into
It has been several years since I've read a book by John Grisham (I believe the last one was The Client). After three or four of Grisham's novels, I grew tired of the predictable repetitiveness and contrived suspense of the narratives. As a result, the intelligence and subtlety of The Rainmaker took me by surprise. I don't know if this is because the novel is better than any of the prolific lawyer-turned-author's previous efforts, or if Francis Ford Coppola has performed a near-miracle in transforming the written pages into a screenplay. Whatever the case, The Rainmaker stands above any other filmed Grisham adaptation, including A Time to Kill, the former holder of that title.
The original The Haunting, a low-budget 1963 haunted house film from director Robert Wise, is a chilling little movie that offers a primer in scaring audiences without graphic bloodshed. It's a lesson that has largely been ignored by filmmakers over the past two decades, at least until the arrival of this summer's The Blair Witch Project, one of the most innovative horror films in a long time. Now, along comes a remake of The Haunting, this time helmed by Jan de Bont (Speed, Twister), a director who doesn't known the meaning of subtlety. He makes the fatal mistake of showing and telling too much (although he keeps the blood-and-gore quotient low), transforming his movie's final half-hour into an unintentionally hilarious self-parody.
When the young Iris Murdoch meets fellow student John Bayley at the University of Oxford, he is a naive virgin easily flummoxed by her libertine spirit, arch personality, and obvious artistic talent. Decades later, little has changed and the couple keeps house, with John doting on his more famous wife. When Iris begins experiencing forgetfulness and dementia, however, the devoted John struggles with hopelessness and frustration to become her caretaker, as his wife's mind deteriorates from the ravages of Alzheimer's disease.
Knights of Bloodsteel
Introduced in the film world, depends on the rare metal known as steel blood. These elements are the source of all magical energy, but soon it will end. Tesselink hires ordinary people - John Perfidu, goblin Behr paint touch-and force the young rogue Adrika. Together, they will be knights of the steel of blood, and their main task will be to find the mythical Crucible - the source of the steel of blood. The team will face the army of evil forces, led by the ruthless and powerful Eye of the Dragon. Who first finds the Crucible, he will have unlimited power.
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The Devil's Double
Baghdad, the playground for the rich and infamous, where anything can be bought - but for a price. This is Uday Husseins world and with his depraved lust for debauchery and immorality, he helps himself to whatever turns him on. When army lieutenant Latif Yahia is summoned to Saddams palace, he is faced with an impossible request - to be Udays fiday - his body double, or have his family condemned to death. In a world entrenched in betrayal and corruption, knowing who to trust becomes a matter of life or death for Latif, as he battles to escape from his forced existence.
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A Passage to India
Adela Quested, a young Englishwoman, travels to India in the late 1920s to visit her fianc
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Little Black Book
Stacy Holt, an associate producer for a daytime talk show, is confounded by her boyfriend Dereks unwillingness to talk about his previous relationships. Egged on by her co-worker Barb, Stacy sneaks a look at his personal digital organizer, scores the names and numbers of his exes, and sets up interviews with them--all in an effort to get closer to her man. Her plan starts to unravel, however, when she becomes friends with one of the women.
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Man About Town
A top Hollywood talent agent finds his cushy existence threatened when he discovers that his wife is cheating on him and that his journal has been swiped by a reporter out to bring him down.
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