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The Eagle is a reassuringly old-fashioned 'swords and sandals' romp directed by Last King of Scotland-helmer Kevin Macdonald. Shot at the same time as 2010's similarly-themed Centurion, the studio held onto The Eagle for nearly a year to avoid a schedule clash, and for good reason, as both films share similar DNA.
Inspired by 'The Eagle of the Ninth', a much-loved kid's historical adventure novel by Rosemary Sutcliff, both The Eagle and Centurion feature the mysterious disappearance of a Roman legion in northern Britain at the heart of their tales - but told from different angles - with The Eagle being more of a direct adaptation of the source material.
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Director D.J. Caruso takes the next step forward towards being Hollywood’s newest blockbuster thriller director in Eagle Eye. He re-teams with star Shia LaBeouf, whom he found success with in Disturbia by borrowing generously from Rear Window. But Caruso doesn’t want to be Hitchcock, far from it. With Eagle Eye he’s making his play to become the next Michael Bay.
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Red White & Blue
In Austin Texas, the lives of three young people Erica, Franki and Nate intertwine in a fateful, tragic way and head down a rocky and violent road to heart-rending oblivion. Erica (Amanda Fuller) lives rent-free in the local co-op, but spends her nights trawling the bars and beds of Austin. Damaged, emotionally withdrawn, never really connecting with anyone, and sleeping with multiple men is just what she does until she meets the older and mysterious Nate (Noah Taylor), working in a hardware store, but with an honorable discharge from Iraq.
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Films like Fish Tank work because they are ruthlessly honest. They do not attempt to placate audiences with recycled clichés or endings pilfered from fairy tales . They seek for some truth and, although that truth may not be revolutionary, it is unvarnished. Writer/director Andrea Arnold has narrowed her focus and used simple filming techniques to follow the life and tribulations of a teenage girl wasting her life in a British housing estate. Her mother shows less maturity than she does and her little sister appears to be growing into a monster. The characters feel real. They talk like real people. And, most importantly, they do not seem to be acting to conform to the contortions of a script. Watching Fish Tank is, as the title implies, like gazing through the glass of an aquarium at the lives of those trapped within, whose only chance of escape would seem to be through death and the indignity of being flushed down a toilet.
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It would be unfair and inaccurate to refer to Bee Season as "another dysfunctional family drama," although, in essence, that's what it is. Adapting from Myla Goldberg's novel, co-directors Scott McGehee and David Siegel (The Deep End) have fashioned a film that traverses an unusual path through the minefield of a splintering family. In addition to spelling bees (which the title alludes to), Bee Season explores Jewish mysticism, mental illness, and the Hare Krishna religion (which may be making its first screen appearance since Airplane!). In the end, it all seems too much for one small movie to contain. Parts of Bee Season work better than others, but I left the theater feeling more like I had watched the outline of a movie than been immersed in a fully realized motion picture.
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Running with Scissors
Running with Scissors is not a pleasant movie. The problem isn't that it's a downer, although it is, but that it's a tiresome trek into familiar territory populated by one-dimensional stereotypes. Perhaps calculating that more is better, Running with Scissors features not one but two dysfunctional families (in movies, there is no room for the so-called "normal" family). Nearly every supporting character with a speaking part is either an oddball or a freak. Had David Lynch been at the helm, the movie might have been weird enough to be entertaining, but director Ryan Murphy's approach is so stagnant that the picture has overstayed its welcome before the running length is half over.
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Legends of the Fall
Legends of the Fall is the sort of epic melodrama that only Hollywood can do this well. It's a spectacle more than a show, with soaring moments of triumph and tragedy. Words like "restraint" and "subtle" are meaningless in this context. The latest offering from Edward Zwick, the director of Glory, is the kind of movie that doesn't require much effort to surrender to and enjoy.
At the center of Susan Shilliday and Bill Wittliff's script are the three Ludlow brothers: Alfred (Aidan Quinn), the oldest and most straightlaced; Tristan (Brad Pitt), the middle child with a special affinity for nature; and Samuel (Henry Thomas), the youngest and most idealistic. The family's patriarch is Col. Ludlow (Anthony Hopkins), an officer who left the U.S. army when he disagreed with the treatment of the Indians. The four men, along with an assortment of friends, live in the Montana Rockies, away from the trappings -- if not the presence -- of civilization.
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Pretty Village, Pretty Flame
Since 1992, when the war in Bosnia began, we in the West have been inundated with images of unbelievable carnage -- photographs and videotapes of scenes so horrifying that we're almost afraid to believe them. Pretty Village, Pretty Flame takes us into the Serbo-Croatian conflict in a powerful condemnation of war that shares several qualities with the German films Das Boot and Stalingrad. Like those two movies, this one causes viewers to think long and hard about the real price of war, and leaves a lingering image in the mind that cannot be easily banished.
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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.
Renny Harlin, whose previous directorial efforts include Die Hard 2 and Cliffhanger, seems fond of big, explosive action pictures. Unfortunately, excepting his debut (the middle film in the Die Hard trilogy), plot coherency hasn't been a particularly important attribute of his movies. Cliffhanger was little more than a series of spectacular stunts linked together by a paper-thin story. If anything, the strands of logic in Cutthroat Island are even thinner. Fortunately, as a spectacle for the eye and ear, this high seas adventure is more than capable of capturing its audience's attention. Holding it for more than two hours is a different matter altogether...
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I'm sure there will be wags who will glibly compare Cast Away to the likes of "Gilligan's Island" and "Survivor", but, in tone, approach, and overall accomplishment, this atypical Robinson Crusoe tale bears a strong resemblance to one of director Robert Zemeckis' earlier efforts, Contact. No, Cast Away isn't about space or messages from another planet, but, at its core, neither was Contact. Both films ask the same crucial existential question, one that Shakespeare pondered for years: taking all things into account, what does it mean to be human? How do we cope with loss, hopelessness, and isolation, and still find the courage to face the next day? The love and dream of a dead father sustained Jodie Foster's character in Contact. For Tom Hanks' Chuck Noland in Cast Away, it is the promise offered by the smile of his equally absent - and equally beloved - wife-to-be.
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Created as the middle section of a three-part trilogy, Malevolence is the tragic story of a group of bank robbers on the run from the law. They hide out in an abandoned house on the outskirts of town, unaware it is next door to the home of a family of serial killers. One of their hostages escapes and runs for help, but all hell breaks loose when she runs to the wrong house.
Starting in England, Isabelle "Izzy" and Annabelle "Annie" Woods are introduced as clever twin girls with a love for pink like their cousin, Elle. They and their widowed father are moving to Southern California where they will be staying in Elle's home. Awaiting the girls are a pair of chihuahua dogs, their giddiness is cut short when they find out they are going to attend Pacific Preparatory, a private school requiring uniforms.
Upon their first day, Izzy and Annie are registering themselves and they sign for ID cards. They also start off on the wrong foot with Tiffany Donohugh, the spoiled daughter of a primary funder of "Pac Prep." And they also meet Chris, who almost is immediately smitten with Annie.
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Journey To The Sun
Mehmet, a young Turkish man newly migrated from the village Tire, takes a job searching for water leaks below the surface of the streets of Istanbul. Due to a strange set of events, he is mistaken for a Kurd, imprisoned, and brutally beaten. Upon his release a week later, he becomes an outcast marked as a Kurd, losing his apartment, his job, and eventually his girl friend, Arzu. When a Kurdish friend, Berzan is killed in a street protest triggered by a hunger strike, Mehmet takes a trek to return the body to Berzans home village near the Iraqi border, and learns why so many Kurds are refugees.
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Childhood best friends Kennedy, Mona, and Dawn embark on a plan to seduce and rob wealthy men. Using cunning acts of seduction and betrayal, the girls go full speed ahead with charm and sex as their weapons to become financially independent. Soon, however, everything backfires when they get involved with a vicious Under-Lord and a murder counters their actions. The women become enveloped in a world of deceit and murder, as they discover that what comes around goes around. It is now up to them to figure out what the next step is and how to get out of this vicious cycle of death before it is too late.
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