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Oscar-winning director Danny Boyle follows up his Best Picture recipient Slumdog Millionaire with 127 Hours, another movie about finding hope in a seemingly hopeless situation.
Based on the book Between a Rock and a Hard Place by Aron Ralston, 127 Hours recounts mountain climber Ralston's (James Franco, in a sure to be Oscar-nominated tour-de-force) desperate attempts to free himself after becoming trapped in a desolate canyon in the Utah wasteland.
Ralston falls 65' down into an isolated, narrow canyon, his right arm pinned by a fallen boulder. He is trapped. Try as he might, this athletic, experienced outdoorsman cannot budge the rock and must utilize all his skills and experience and what little resources he has on his person to save himself. But after five days of being trapped there and edging closer towards death, Aron is faced with doing the unthinkable if he's going to escape his hellish ordeal.
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A Dangerous Man
It's been eight years since Steven Seagal has had a film hit theaters (Half Past Dead), but that doesn't mean he's slowed down, cranking out straight-to-DVD action films at a rate that matches his punching speed (clocking in at around 20 since 2002). Seagal's latest dip into action is A Dangerous Man, proof that while his films have lowered in budget, scope, and all around quality, Seagal still has what it takes to scowl harder, kick faster, and deliver lines slower than ever before.
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Cloudy with a Chance of Meatballs
Since its earliest days of development, the value of most computer animation was judged by how accurately it represented or substituted for reality: are skin tones believable, are textures authentic, is motion natural or smooth? But at least as far as animated movies are concerned, many (including lots of audience members) have forgotten that many of the medium's best examples were ones where abstraction and exaggeration were a big part (if not the biggest) of their artistry; notwithstanding feature-length classics like Snow White or Dumbo, filmmakers like Chuck Jones and Tex Avery entertained audiences by expanding their imaginations with punch lines, characters and even worlds that were anything but realistic.
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Just Go with It
Danny (Sandler) is a nice guy who's not all that successful with the ladies. After calling off his own wedding on the day he was supposed to get married, Danny heads to a bar, still wearing his wedding ring. He inevitably meets a woman who is only willing to talk to him because of said ring. Flash forward 10 or so years, and although he's now a successful plastic surgeon, the old wedding ring trick is still Danny's main source of attracting women.
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License to Wed
No matter how hard I try, I'm finding it difficult to write anything positive about License to Wed. This movie is bad from top to bottom, front to back, and start to finish. Many romantic comedies sacrifice humor in favor of romance; this one isn't romantic either. If this was the debut outing for Robin Williams or Mandy Moore, neither would get another job. Williams is as unfunny as he has ever been and Moore shows no evidence of charisma or charm. At least License to Wed wasn't so godawful that I wanted to drive a spike through my head to make the pain stop, and when it was all over, I didn't run gibbering up the aisle in a frantic break for the exit.
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The Piano is about passion, the most basic and primal element of human nature. No matter how thick the veneer of civilization is, or how deeply-buried beneath layers of social repression those latent emotions are, passion ultimately cannot be denied. This is something that the three principals of this movie learn in various, often unpleasant, ways.
Grosse Pointe Blank
Grosse Pointe Blank should come with a warning against advertisement-induced expectations which might diminish a viewer's appreciation of the film. The previews and TV commercials make the movie look like a frothy romantic comedy. In reality, Grosse Pointe Blank is a bleak, black satire that occasionally strays all the way into Pulp Fiction territory. That's certainly not a bad thing, but it isn't what the marketing people at Hollywood Pictures are selling the movie as.
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I'll Do Anything
Low, gray clouds scud across the sky while the grass of a seemingly-endless plain ripples in response to the prompting of a spring breeze. Thunder rumbles in the distance. On another day, a bright sun gazes down on those same fields while cattle roam from horizon to horizon. The silhouette of a lone cowboy on horseback stands out against an evening skyline. Above these vistas, the Rocky Mountains tower like implacable guardians, seeing all. These are only some of the images from The Horse Whisperer, a film as rich in its visual presentation as it is in its emotional resonance.
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Quigley Down Under
Tom Selleck stars as American cowboy archetype Matthew Quigley in Simon Wincer's outback western Quigley Down Under. Answering an advertisement placed by Australian cattle baron Elliot Marston (Alan Rickman) to come to the rugged and uncivilized Australian countryside and shoot dingoes, Quigley finds himself halfway around the world, only to find that Marston wants to exploit his talents as a sharpshooter in order to wipe out the Aborigine population.
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The film begins with 18-year old Grace Ann Bennett (Selena Gomez) working at a diner with her best friend, Emma Danielle Perkins (Katie Cassidy), a high school dropout. Grace adds another pinch of change to her jar marked “Grace’s Fund for Paris.”
At graduation, the valedictorian is speaking when Meg Kelly-Bennett (Leighton Meester), Grace’s uptight older stepsister, comes in late. Everybody turns to look, embarrassing Meg. That night, at dinner, Grace’s stepdad (Brett Cullen) announces that he has paid for all the girls to go on a trip to France. Meg, who does not want to go with the girls, refuses. She states that she hasn't gotten along with Emma Perkins since high school, and now she’s stuck on going on a soon-to-be-disastrous trip.
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David Robinson is being shipped off to a penal colony. His wife and kids are allowed to acompany him. A storm strikes the ship and the family (save for one son, Jacob) are trapped below deck. Jacob is raised by pirates, and the family gets out of the boat and on to land, salvaging as much as they can from the boat, including dogs, chickens, and muskets. They learn to survive and build a shelter on land. Then, Jacobs pirates kidnap Emily, the daughter of a sea-captain. She escapes onto the island and becomes a love intrest with Fritz and Ernst. Jacob is reunited with his family during a battle with the pirates over Emily, and she is returned to her father. In the end, the family goes there own ways, some staying on the island, some going home.
Think breakdancing died in the eighties? Think again. PLANET B-BOY is a feature-length, theatrical documentary that re-discovers one of the most incredible dance phenomena the world has ever seen. Originally known as B-boying, breakdancing was an urban dance form that originated from the streets of New York City during the seventies. Along with Emceeing, Graffiti and DJing, B-boying served as one of the crucial elements in the birth of hip-hop culture in America.
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Welcome to the Jungle
The plot of Welcome to the Jungle concerns two young couples who go to Southwest New Guinea in order to find Michael Rockefeller, the son of New York Governor Nelson Rockefeller, who disappeared years earlier. However, they get more than they bargained for when they come under attack from bloodthirsty cannibals.
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The Devil with Seven Faces
The funniest truckin youve ever seen!
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Fatal Affair aka Stalker
A man who went ... a technicality, he discovers that Ezra is following his trail. Stalker was also released under the title Fatal Affair.
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