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Battle for Terra
With regard to animated films, Pixar seems to have somehow struck the balance – the precarious middle-road between youthful entertainment and more carefully nuanced adult fare. Where some films pander to the cartoonish and silly, painting the screen with slapstick heroes and cuddly, bug-eyed companions, Pixar has mastered the art of adding just the right amount of substance or intelligence or, dare we say, darkness to the recipe to produce a film that works for all audiences, on all levels. And the reason we mention Pixar, the very center of this cinematic see-saw – a company with no relation whatsoever to Battle for Terra – is that too few animated films skew toward the opposite side of the balance, unafraid to eschew the humorous in favor of offering a mature story to younger viewers.
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I sat down to watch “Camp Hell” thinking maybe I was in for an 80’s throwback to the days of the slasher. Or maybe even a “Friday the 13th” rip-off of some sort would have be cool. As soon as I pushed play the title screen wasn’t a blood splashed “Camp Hell” but it actually read “Camp Hope”. To say I was dumbfounded would be an understatement since I really had no idea what the hell I was watching. I couldn’t figure out what the story was, if it was propaganda, or where the true horror was. I made it through the film and I have to say it was tough to get through.
Tommy (Will Denton) is on his way to camp. He studies the bible and lives very close to God’s words along with his parents Michael and Patricia (Andrew McCarthy and Dana Delany). God is their main focus and faith is all important. At camp, the kids are separated, boys and girls, any contact is considered a sin. No impure thoughts and no youthful influence. Father McAllister (Bruce Davison) tries to drive home the idea that sin leads to the devil and demons entering our lives. When Tommy gives in to those urges with Melissa (Valentina de Angelis), evil enters the camp and everyone’s faith is tested.
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Disappearance of Alice Creed
When I first saw The Disappearance of Alice Creed at the 2009 Toronto Film Festival, I thought it was a sure bet to be picked up for United States art house distribution. I was wrong. Eventually, however, after the dust from the festival had settled, the producers had lowered their asking price, and Gemma Arterton's star had gone supernova, Anchor Bay stepped up to the plate. The film is not getting a consistent or widespread release; it's showing up in a few "select" theaters around the one-year anniversary of its North American debut in Toronto, but most of those interested in the movie will have to wait for the DVD release. (The limited theatrical distribution is designed to remove the "direct-to-DVD" stigma.) In this case, that's fine, since the claustrophobic movie might arguably play better on the small screen than on the large one.
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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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Grace Is Gone
If Martian Child is the price film goers must pay in order to get Grace Is Gone, then it's a worthwhile trade. This low-key drama, the directorial debut of James C. Strouse, is the kind of opportunity that real actors relish. With a minimalist plot, Grace Is Gone turns its primary focus on John Cusack, giving the actor an opportunity to display both his talent and his range. One can argue that the premise is not a can't miss proposition, but with Cusack in the camera's crosshairs, the situation's poignancy seems genuine rather than exploitative.
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After watching a movie like Just Friends, I hurry home from the theater and take a shower so I can wash away the stink of the experience. There are bad movies and annoying movies, and this one contains elements of both. Spending 90 minutes with these characters should earn movie-goers at least a tee-shirt proclaiming their endurance. This would-be romantic comedy is neither romantic nor comedic, and it makes for must-see viewing for anyone who wonders how a seemingly "can't miss" premise can be thoroughly wrecked.
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The (Il Postino) Postman
The Postman, an Italian film from British director Michael Radford (White Mischief, The Elixir), is a charming piece of cinema that takes several comfortable formulas and expands upon them in ingenious and emotionally-satisfying ways. There's a little of everything here: poetry, politics, humor, love, and heartbreak. Best of all, these elements flow together seamlessly in a production characterized by solid acting, balanced pacing, and eye-catching cinematography.
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Almost every filmmaker in the history of cinema would be thrilled by the knowledge that a feature of his (or hers) is considered an undisputed classic - a benchmark by which other, similarly themed movies are judged. Director Martin Scorsese, considered by many to be the finest American film craftsman working today, can claim a unique distinction - he has been responsible for a classic during each of the last three decades of the 20th century. In the '70s, it was Taxi Driver. In the '80s, it was Raging Bull. And in the '90s, it was Goodfellas (the most lauded, at least in terms of official awards and nominations, of the director's features). No one else, not even greats like Ingmar Bergman, Stanley Kubrick, and Eric Rohmer, can make a similar claim. With patience, care, and strict attention to detail, Scorsese has staked out an impregnable position in the history of motion pictures.
Air Force One
Arguably, the favorite genre today is the action adventure film. While many are formula and derived, some provide a true action experience.
Air-Force One is a true action film!!
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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.
Confessions of a Dangerous Mind
Chuck Barris' (Sam Rockwell) sole purpose through his teenage years (Michael Céra) in Philadelphia concerns promiscuity, but he is unsuccessful. Inspired by a television advertisement, he moves to Manhattan to become an NBC page. He dreams of becoming famous in television, but is eventually fired. Chuck moves back to Philadelphia and becomes Dick Clark's personal assistant on American Bandstand in 1961. There, he writes the successful "Palisades Park" song with Freddy Cannon and falls in love with a woman named Penny Pacino (Drew Barrymore). Chuck is given permission to pitch the concept for The Dating Game at the American Broadcasting Company (ABC); he receives $7,500 to create a television pilot for the studio. However, ABC abandons The Dating Game in favor of Hootenanny. Chuck then struggles with his life and ends up in bar fights. He is noticed by Jim Byrd (George Clooney), a CIA agent who recruits Chuck as an assassin.
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In a flashback sequence following the first film, Lawrence Gordon (Cary Elwes) crawls from the bathroom to find help after sawing off his foot. Along the way, he reaches a steam pipe and uses it to cauterize his ankle stump. In the present, Ryan (Jon Cor) and Brad (Sebastian Pigott) awaken in a storefront window in a shopping area in front of a crowd of people, their wrists bound to a worktable. In front of each man is a buzz saw, and their mutual lover, Dina (Anne Lee Greene) is suspended above a third saw. Jigsaw's puppet tells them that they can either kill one another or allow Dina to die, and after realizing her betrayal, they decide to save themselves and allow her to lower onto the saw, killing her.
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City of Motherly Love
Young overworked, underpaid, Ashley Freeman, caught in a struggle against time, faces the hardships of being a single parent to her son, Davie. In a tragic turn of events her son is killed leaving her left with nothing more then what she had previously desired most, time. But time now is filled with the torments of the abandonment of her sons father, the sudden and violent death of her only child, and a shattered past, which ultimately becomes a twisted race she must endure to rescue her own life.
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Drug enthusiast and chemical master Silas and his friend Jamal lose their best friend Ivory to a disturbing pot related dread-lock fire, growing a pot plant in his ashes they use his heavenly connections to hook them up with all the knowledge they need to make it to Harvard... where they change the lives of the up-tight ivy league in the way only good stoners can
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Junkbucket follows a group of kids, to Lake Pakajanomo for a weekend of sex, drinking, and drugs. Unfortunately, waiting for them in the woods is a bucket-headed monster who plans to kill all of them and take their junk (to make up for the fact that his were cut off by his momma as a boy). Not for the weak of parts, this satire is guaranteed to scare your junk off!
Beautiful Carmen Colson and her ironworker husband Wayne are placed in the Federal Witness Protection program after witnessing an extortion scheme go wrong. Thinking they are at last safe, they are targeted by an experienced intimidating hit man and a psychopathic young upstart killer. The ensuing struggle will test Carmen to the limit.