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Pleasure and pain -- for any film to evoke either emotion takes a considerable effort, for better or worse, and to extract one sensation out of the other takes a defter touch yet. Olly Blackburn's Donkey Punch starts out with its characters indulging in all manner of proud debauchery, and when they come to bear the consequences of their behavior, their pain becomes our pleasure. That admittedly may not spell out 'entertainment' for everyone, but it wouldn't be entertaining in the hands of just anyone, and Blackburn takes one boat, one body, a rising tide of panic and a rising number of corpses and uses them all to craft the best bad news possible.
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Who would have thought there was a Belgian comic book hero out there to rival Tintin? I will come clean on this one right away and admit that I had never heard of Largo Winch before watching this film. However, a quick trip to Wikipedia exposes him as having a legacy spanning several decades, including numerous chronicled adventures, in both novel and comic book form, as well as a previous film incarnation and even a TV series to his name.
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Richard Matheson's original short story, "Button, Button," was a nifty little morality tale about a couple faced with a peculiar opportunity -- if they push a button in a box, they'll get a sum of money but kill a stranger in doing so. That version of the story ended with the wife pushing the button and killing her husband, a man she didn't really know. As an episode of "The Twilight Zone" in 1986, the story ended with the couple paid off and assured that the device would then go to another couple to whom they qualify as strangers. Now, Richard Kelly's The Box takes that same basic premise and spins it into a mind-bender of the most baffling degree, starting out as another "Twilight Zone"-worthy variant but eventually reaching the outer limits of both patience and reason.
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In a small Louisiana town, a drilling crew sets blast charges to blow through the earth to tap the oil residing beneath. They uncover an ancient Indian artifact - a portal that houses the Kachinawaya, or animal spirit. The drilling crew unwittingly releases the spirit of the Monsterwolf upon themselves and anyone else who dares encroach on Indian land. The beast begins to savagely attack oil company employees, who have been warned by the local tribal Chief, to stop drilling on Indian lands or the Kachinawaya will continue to terrorize them. The oil company lawyer starts to uncover the mystery of the Kachinawaya and discovers that she is the last living descendant of the tribe from which the Kachinawaya was borne and she is the only one left who can stop it before it rips the town apart. Together, with her sheriff father and boyfriend, they race against time to destroy the Monsterwolf.
Ghost Town is one of those romantic comedies that never quite clicks. At times, its humor is effective, provoking chuckles and laughs. At other times, the comedy feels forced and awkward. The romantic element is equally hit-and-miss. The chemistry that emerges between the leads during the film's second half is largely absent from the first 45 minutes. And the premise, rich with promise and pregnant with possibilities, is reduced to a plot device that allows Ghost Town to turn into a low-rent, modern-day version of A Christmas Carol.
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Son of Rambow
It's said one never forget the first time - first love, first kiss, first movie. That's certainly the case in Son of Rambow, in which one character's first cinematic experience, First Blood, opens up a world of new possibilities he had never dreamt of in his previously sheltered existence. The resulting tale of friendship and family touches plenty of crowd-pleasing buttons but comes across as more than a little derivative. The filmmakers have taken the familiar "school outsider climbs to the top of the social heap" storyline and given it a few new wrinkles, but not so many that one can't glimpse John Hughes peeking through the chinks. Son of Rambow not only takes place in the '80s, it feels like it was made in the '80s.
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Once upon a time, a Broadway musical like Chicago would have automatically received a silver screen treatment – but that was before the popularity of the movie musical crashed and burned. Nevertheless, the enthusiasm surrounding the 1996 revival of Bob Fosse's 1975 play was so extreme that studios were willing to absorb a certain amount of financial risk on the off-chance that this movie might be able to succeed where so many others had failed. The last major motion picture musical was 1996's Evita, which performed tepidly (with a domestic gross of about $50 million against a budget of $55 million). Miramax Films is hoping for a better showing for Chicago.
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.
Out of Africa
Watching Out of Africa a quarter of a century after its release, it's almost impossible to guess how it won the Oscar for Best Picture. There's little doubt that this is a feast for the eyes and ears. The pairing of John Barry's lush score with David Watkin's poetic cinematography is worth the price of admission. Would that the story, based on the memoirs of Isak Denesen (the nom de plume of Karen Blixen), warranted equal praise. There's nothing wrong with Out of Africa. Sydney Pollack's direction is quietly competent and the acting by Meryl Streep and Robert Redford is top notch. But the lazy story is little more than an ordinary melodrama that simmers without ever reaching a boil. To tell the truth, during the entirety of the movie's nearly three-hour running length, I was more interested in the scenery and Barry's music than I was in the characters. Yet, in large part because of the talent involved, this became THE prestige picture of 1985, and the Academy treated it as
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Crooked aka Soft Target
Anyone who's been repeatedly struck about the head and neck with a blunt object for an extended period of time will tell you the same thing — after a while, it just stops hurting. Well, I'm starting to believe this theory can be applied to those cinematic masochists who love spending their days and nights with whatever straight-to-video release happens to hit retail shelves that week.
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Next Day Air
Smoke weed, not crack, and use FedEx, not "Next Day Air." Such are the lessons of this low-grade entertainment about a bumbling courier who mistakenly delivers a large stash of coke to two bumbling criminals, angering a bumbling drug dealer and yielding predictably dire consequences in an altogether bumbling excuse for an action-comedy.
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A Dog's Breakfast
Patrick (David Hewlett) is single, loves his dog (Mars the Dog) and still lives in his parents' house ten years after their death. Shortly before Christmas, Patrick's sister Marilyn (Kate Hewlett) visits Patrick to introduce him to Ryan (Paul McGillion), a science fiction television star.
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Two friends are driving to Las Vegas to spend the weekend, and one of the men, Lou (Johnson) who is driving, asks his friend Ryan (Fox) if one could get away with killing someone in the middle of nowhere. As they explore Zzyzx road, Lou teases Ryan by almost hitting a pedestrian. As Ryan complains about Lou's behavior, Lou doubles back and sets a crash course for the man that they saw on the road. Ryan grabs the wheel in the hopes to stop Lou from hitting the man, but in the end they lose control of the car and hit the man anyway. The man dies, only after whispering the words "Go home" into Lou's ear. Lou takes his identification and puts on his watch.
Friends and family pursue an estranged writer to an isolated house only to find that, once theyve entered, their own fears will kill them if they leave.
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Here on Earth
The lives of three young people - a rich student, a girl from the wrong side of the tracks and her boyfriend - unexpectedly intersect during one fateful summer in the romantic drama Here on Earth. Kelley Morse (Chris Klein), who is cocky and brash, normally would never have crossed paths with the residents of a small town near his posh private school. But when he takes his shiny new Mercedes out for a drive, he locks horns with some of the locals, including Jasper (Josh Hartnett). As Jaspers willful girlfriend Samantha (Leelee Sobieski) looks on, Kelley and Jasper engage in a dangerous car race that turns disastrous, leaving a popular diner owned by Samanthas mother in ruins. Kelley and Jasper are sentenced to a creatively ironic but fitting punishment They must help rebuild the diner. Not only does this ruin Kelleys summer plans, he also must board at the home of his rival, Jasper. Kelley begins to fulfill his sentence, but refuses to have anything to do with Jasper and his parents. When Kelley again encounters Samantha, the attraction is immediate and strong. First love blossoms in the Berkshire woods (a little bit of heaven, here on earth, Samantha calls the pastoral setting), angering Jasper, who has known Samantha practically his entire life. These new feelings and the romantic triangle that develops are only the beginning of a new journey for Kelley, Samantha and Jasper, as they ultimately make life-changing discoveries about themselves and each other.
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Night Catches Us
In 1976, complex political and emotional forces are set in motion when a young man returns to the race-torn Philadelphia neighborhood where he came of age during the Black Power movement.
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