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The Taking of Pelham 123
The Taking of Pelham 123, a remake of the 1974 classic of the same name and adapted from the novel by John Godey, follows a New York City subway dispatcher, Walter Garber (Denzel Washington), caught up in a hostage crisis. When the eponymous train is hijacked underground by a mysterious bad guy dubbed "Ryder" (John Travolta) and his goons (including Luis Guzmán), Garber finds himself the villain's unwilling conduit to the authorities. Ryder demands that the city pay him $10 million within an hour otherwise he'll start killing off his 18 hostages.
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I simply do not envy the filmmakers who feel inspired to make a haunted house flick in today's cynical age. What used to be so beautifully easy in The Haunting or House on Haunted Hill or The Innocents became a little bit tougher in The Amityville Horror and Poltergeist -- and nowadays you have to break out the video camera if you want to dazzle a young audience with your Paranormal Activity and your Grudge-inspired phantoms. But of course the haunted house movie is an essential sub-division of our beloved Horror genre, which means it's always good news when someone finds a fresh way to upgrade the essential cobwebs once in a while.
If you like Harrison Ford movies, like I do. And if you like thrillers, like I do. And if you like to sit on the edge of your seat in a movie and root for the good guy, like I really do, then youll probably love FIREWALL.
Max, a deaf rebel who has managed to stay under the radar, fights for his life daily as he slaughters these transformed humans with pretty effective grace. “Biosys” are humans who have been altered and engineered by scientists to soldier where designated. One of the biossys strays away from his team after realizing the influence that was inflicted upon him only to question his being and his place in this world. He seeks out Max who he believes contains the blood to antidotize the serum and cure the savage race. Along the way they also team up with 2 others who are lost as they are. Their mission is to all find this force known as the Resistance.
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Star Wars Episode III: Revenge of the Sith
The saga is complete. What George Lucas began in 1977 as a little movie that took the box office by storm, he has completed in 2005 with the most heralded motion picture of the year. With the arrival of Revenge of the Sith, Lucas places the missing piece of the six-film arc that tells of the rise, fall, and redemption of Darth Vader. It's a rousing and tragic sendoff to a beloved franchise, and the best installment in the Star Wars series since 1980's The Empire Strikes Back. If this is to be the last big-screen installment of the space opera, Revenge of the Sith ushers things out on a high note. Those who have disparaged the previous two prequels (1999's The Phantom Menace and 2002's Attack of the Clones) will find few things to complain about this time around. Lucas has delivered the film that Star Wars fans have been yearning for.
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In Envy, the "Va-poo-rizer" is a liquid that, when sprayed on animal fecal matter, causes the offending substance to disappear. Would that such an invention existed to use on this motion picture… It's remarkably appropriate that Envy is about turds, because that's what the movie is.
If he's not at the top of the list, then Barry Levinson is one of the contenders for the title of "Most Inconsistent Working Director." It boggles the mind that the man responsible for such wonderful cinematic fare as Tin Men, Avalon, and Wag the Dog is also on the hook for Toys, Sphere, and Envy. This movie has languished on its distributor's shelves for a long time. Now, having experienced this 99-minute endurance trial, it's not hard to understand Dreamworks' reluctance to release it. The unanswered question is how something this awful could be greenlighted in the first place.
The Promotion is a nice little comedy about what it takes to climb the corporate ladder and the toll such actions take on the psyche of a decent individual. Despite the presence of Seann William Scott, who will forever be known as Stifler from the American Pie movies, the humor here is restrained and low-key. There's none of the desperate, in-your-face antics that have become commonplace in American comedies. The characters act like people not like cardboard cut-outs whose sole purpose is to exist at the butt of jokes. And the film does not feel the need to resort to bathroom functions and bodily fluids to generate laughter. To the degree that The Promotion is funny, it's because there's wit in the script.
Going into Stay, I was aware that the director was Marc Forster, the man who made Monster's Ball and Finding Neverland. However, even with that knowledge, it wouldn't have surprised me to see David Lynch's name during the closing credits. Stay is the kind of dreamy, surreal motion picture that delights in messing with its viewers' minds. Ultimately, it's less cryptic than any of Lynch's recent films, since everything is explained (sort of) at the end. The outstanding question, however, is whether or not the resolution satisfies. Forster includes enough clues in the way he presents the narrative for audience members to intuitively figure out the secret, but I couldn't help feeling a little let down when the truth was unveiled. I have seen it before, and on more than one occasion. (I won't mention specific titles here because those who have seen the movie will immediately suspect the twist.)
Notes on a Scandal
Notes on a Scandal is an attempt to make a Fatal Attraction type thriller for the art house crowd. With a cast that features two of today's best actresses - Judi Dench and Cate Blanchett - and a screenplay of uncommon literacy, the movie nearly achieves its aim. However, in order to propel circumstances to a conclusion, Notes on a Scandal relies upon a contrivance so ugly and obvious that it's impossible to ignore. This single glaring fault, which is even more evident considering how well constructed the rest of the movie is, damages the film's narrative flow and credibility.
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Cider House Rules
Note to readers: this review contains spoilers. While I do not believe the revelation of certain plot points will in any way compromise the viewing experience, those who wish to see The Cider House Rules without having previous knowledge of certain elements would do well to bail out now and return after they have seen the film.
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Move aside, Dennis Hopper. Step down, Alan Rickman. I am now convinced that no one can match Jon Voight when it comes to playing a thoroughly detestable bad guy. With his calm, sinister demeanor and menacing facial expression, Voight has the ability to cause everyone in the movie theater to loathe his character. Viewers hiss when he comes on screen and cheer when he gets his comeuppance. His role as the amoral, egotistical Coach Bud Kilmer in Brian Robbins' Varsity Blues is such a part.
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I don’t know who Bob Gale is, but I’ll wager that he’s an old Hollywood hand. He’s probably been around Hollywood films for most of his life, which may explain how he was able to get big name stars like Michael J. Fox, Kurt Russell, Chris Cooper, and Ann-Margaret to play cameos in his small movie, “Interstate 60″. Of the four, only Cooper (“Adaptation”) has a major cameo — which in this cases means he lasts for more than one scene.
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The Big Bounce
Surfer dude and occasional thief Jack Ryan takes a baseball bat to the head of the menacing Lou Harris, a foreman on a Hawaii construction site run by corrupt millionaire Ray Ritchie. The police and Ritchie's right-hand man, Bob Rogers Jr., all tell Jack they want him off the island as soon as he's out of jail.
A local judge, Walter Crewes, has different ideas. He seems to take a liking to Jack and offers him a job as a handyman at a small resort of beachfront bungalows he owns.
Ritchie has been cheating on his wife with a much younger mistress, the sexy Nancy Hayes, who catches Jack's eye. The judge warns him that she likes "the criminal type" and can't be trusted. Together they break into houses for fun and profit, then come up with a scheme to steal $200,000 from Ritchie.
Harris and Rogers both come looking to get even with Jack. And it turns out that Nancy is not the only one he can't trust.
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The Magic of Ordinary Days
In 1944 a young woman, Livvy Dunne (Keri Russell), who became pregnant before marriage, is sent to rural southeastern Colorado. Her father, Rev. Dunne (Daryl Shuttleworth), decides to deal with the situation by arranging her marriage to a shy farmer through another preacher. The groom, Ray Singleton (Skeet Ulrich), lives on a remote farm and is very different from Livvy. Ray focuses on what is close to him: his family, his land, and today. Livvy thinks on a much grander scale: the world, ancient civilizations, and faraway places.
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Desmond Doyle is devastated when his wife abandons their family on the day after Christmas. His unemployment and the fact that there is no woman in the house to care for the children, Evelyn, Dermot and Maurice, make it clear to the authorities that his is an untenable situation. The Catholic Church and the Irish courts decide to put the Doyle children into Church-run orphanages. Although a sympathetic judge assures Desmond that when his financial situation reverses, he will be able to get his children back money is hard to come by. During that time, Evelyn and her brothers suffer the abuses of living in orphanages while Desmond struggles to secure finances. Now he must battle the courts to get his children back.
Lovely by Surprise
A truly unique and visually stunning take on meta-fiction, Lovely By Surprise follows the journey of novelist Marian Walker as she attempts to finish her first novel. Facing the age-old problem of writers block, Marian seeks advice from a mentor and ex-lover.
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