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Crash and Burn
Crash and Burn (2008) is a DTV number meant to cash in on The Fast and the Furious as well as the whole Gone in 60 Seconds and No Man's Land car thief angle.
Kevin (Erik Palladino) is a car thief who returns to LA after two mystery years because his buddy died. He reunites with his best friend Hill (David Moscow), whose father runs a chop shop. Hill and his dad are doing business with gangland bigwig Vincent Scaillo (Michael Madsen) and Kevin wants in on the action. Pretty soon Kevin and Hill are out stealing cars for Vincent's want list and trying to avoid the local Latino gang, who are murderously intent on being the only ones stealing cars in their territory.
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The talented Nick Stahl (Terminator 3: Rise of the Machines) plays the central role of Dylan, a morose funeral home employee whose only friend is his gregarious, burly Irish co-worker (Brian Lynner). After overseeing the crowded funeral of a former high school classmate, Dylan decides to fake his death to see if anyone will bother to show up at his own.
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World Trade Center
Turning back the calendar to the morning of September 11, 2001 is a risky proposition for any director, and not to be undertaken lightly. Paul Greengrass succeeded brilliantly with his United 93 and now Oliver Stone, never one to back away from a challenge, has decided to tell another story under the 9/11 umbrella. His film, World Trade Center, comes unencumbered by the director's baggage. There is no political message. There are no conspiracy theories. And the camerawork is straightforward, lacking the over-the-top flourishes that have hampered some of the director's recent efforts. World Trade Center is Stone's most potent motion picture since Platoon, and may be the most accessible across-the-board since Wall Street.
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Freedomland is one of an increasingly endangered species: the adult movie that's about something. By "something," I mean a serious issue - the kind of thing films shy away from for fear of alienating viewers. Underneath the trappings of a police procedural, Freedomland opens a gateway to the simmering cauldron of racial/social inequality that exists across the urban landscape of this country, where people are treated differently because of the color of their skin or their lack of spending clout. Events in the movie are as fictional as the locale in which they transpire (Dempsey, NJ), but they bear an uncanny resemblance to recent news stories. It's unclear whether writer Richard Price drew from the headlines in drafting his story, or whether Freedomland shows prescience.
It is my fondest dream that some day filmmakers will realize that great visual effects do not by themselves equate to a worthwhile motion picture experience. However, until that state of cinematic utopia arrives, audiences will be forced to endure movies like Hollow Man - masterpieces of visual ingenuity that are sadly lacking in many other creative categories. And, while the special effects in Hollow Man are eye-popping, the film is hamstrung by two major flaws - bad acting and an initially smart script that inexplicably devolves into derivative action and pointless violence.
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Three adjectives spring to mind when describing Marie Antoinette: odd, irritating, and tedious. (The last in that list could be replaced by "boring.") This is a movie that never gets to the point, perhaps because it doesn't recognize what the point is. As anyone knows who has spent any time studying 18th century France, Marie-Antoinette's story is an interesting one, provided one concentrates primarily on her post-Revolutionary life. Everything that happens before July 14, 1789 (the day of the storming of the Bastille) is a prologue; the real meat comes after. Unfortunately, for reasons known only to her, Sofia Coppola has chosen to focus on the prologue. What could have been adequately captured in 15-20 minutes of screen time drags on forever and, to further exacerbate matters, both leads are miscast. The film was booed at Cannes before apologists got to work saying it wasn't that bad. The initial reaction is more indicative of the reaction Marie Antoinette deserves.
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From Ingmar Bergman to Jodie Foster, film makers throughout the years have been fascinated by what happens when members of a dysfunctional family gather for a celebration. Inevitably, dark secrets come to light, intrigues are put into motion, old rivalries are renewed, and new revelations change existing relationships. Some films tackle these ingredients far better than others. Handled poorly, this material can be the foundation of a painfully trite motion picture. Executed intelligently, however, it can have a profound impact. Thomas Vinterberg's The Celebration is one of the best cinematic explorations of this subject, and the result is unsettling.
Raise the Red Lantern
Raise the Red Lantern is one of the more sublimely beautiful and openly disturbing films of the 1990s. It is also the best work to date turned in by the actress/director combination of Gong Li and Zhang Yimou -- and this includes other impressive films like Ju Dou andTo Live. Raise the Red Lantern is one of those all-too-rare motion pictures capable of enthralling audience members while they're watching it, then haunting them for hours (or days) thereafter. With its simple story and complex themes and emotions, Raise the Red Lantern hints at the kind of film a great director like Ingmar Bergman might have made had he attempted a story set in mainland China.
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Terry Gilliam's Brazil is one of those films whose enduring reputation is based at least in part on events surrounding its stormy distribution history. Taken at face value, Brazil is a stinging, Strangelovian satire of the power of the bureaucracy in an Orwellian landscape. The vision is clearly Gilliam's; his penchant for striking visual flourishes and dark comedy have seeped into the fabric of the narrative, but it's not the strongest story he has worked with. Plot-wise, Brazil is rather hum-drum and derivative; its energy and appeal derive not from its thin characters or their actions but from the world they inhabit. Take away the controversy and the very public squabble that surrounded Brazil's U.S. release and it would likely have gone down as a middle-of-the-road title on Gilliam's eclectic filmography.
This is a fact based story about an English socialite and her husband who live in a mansion with a brood of animals including chimpanzees who are raised as her children. When she discovers an ailing baby gorilla, she decides to care for it as well. Years later, the gorilla is fully grown and its strength is sometimes out of control. However, the gorilla shows love for his mistress and obeys her commands. That all changes when she is invited to display the gorilla and chimps at the Chicago Worlds Fair. Accidentally freed by one of the chimps, the gorilla terrorizes the Fair. From that point on, he becomes moody and more uncontrollable until he attacks his mistress in a bestial rage.
Starsky & Hutch
The movie takes place in the fictional city of Bay City, California in 1975. The story centers around two cops who eagerly work for the Bay City Police Department. The city has a distinctly southern California atmosphere to it and Bay City is very similar to Los Angeles. The two cops are, David Starsky (Ben Stiller) a loudmouth, wannabe macho cop who loves his Ford Gran Torino and is paired with the cool, easy going Ken 'Hutch' Hutchinson (Owen Wilson). The two are wary of each other in the beginning. Jewish-American drug kingpin, Reese Feldman (Vince Vaughn), and his partner-in-crime, Kevin (Jason Bateman), are planning to bring in a shipment of drugs worth millions of dollars. They have developed a new type of cocaine which is untraceable in scent and taste. When Feldman finds out that one of his drug pushers failed a drug transport operation, he kills him and leaves the body in the ocean.
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Tornado and the Kalahari Horse Whisperer
Riding Tornado is a true life story of patience endurance and passion.It tells the story of two soulsPierre,a disheartened young man and Tornado an emotionally tormented horse.
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The Family Man
Jack Campbell is a single, wealthy Wall Street Executive living the high life in New York City. He is in the midst of putting together a billion dollar merger and has ordered an emergency meeting on Christmas day to ensure its success. Family clearly has no meaning for him. In his office on Christmas Eve, he is surprised to hear that his former girlfriend, Kate, tried to call him after many years. After reminiscing a bit, he walks into a convenience store where a lottery contestant, Cash, barges in saying that he has a winning ticket. The store clerk believes that Cash is lying and refuses to give him his winnings. Cash pulls out a gun and is about to shoot the clerk before Jack offers to buy the ticket from him, thus averting disaster. He and Cash settle their business deal outside and he arrogantly offers to help Cash before going to sleep in his penthouse.
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Clay (as in the title) is a young man in a small town who witnesses his friend kill himself because of the ongoing affair that Clay was having with the mans wife. Feeling guilty, Clay now resists the widow when she presses him to continue with their sexual affairs. Into this comes a serial killer who befriends Clay, even to murdering the nagging widow for him... but certainly not at Clays request. But that doesnt matter for the police, as well as for a savvy female FBI agent who sees Clay as their prime suspect. Yet Clay doesnt tell them of his friend who admits to him of his serial killings, primarily because Clay sees himself as somewhat of an accomplice, in that he seems to have introduced to the killer each young woman that is killed... in fact, the sheriff comments that he wishes Clay would quit finding the murdered victims, which he always seems to do. But at last Clay is able to turn from being the pigeon... to giving the film its very unpredictable conclusion.
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Jesse Stone: Innocents Lost
Jesse, No longer Chief of the Paradise Police Force sets out on his own to solve the murder of a young girl he had helped earlier.
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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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