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Where the Wild Things Are
In so many ways, Max is a modern child. His father is gone. His older sister has outgrown him. His mother, who works late to support the household, is dating a stranger. His teachers are slowly introducing him to the realities of an adult life, offering lessons on tsunamis and supernovas. He has no friends with whom to share his frustrations or figure out his feelings, some combination of betrayal or anger or loneliness. Yet his imagination is strong and provides him with a shelter from the storms of his everyday existence. But when, one evening, his emotions boil over and he runs from his home in a rage, he crosses some imaginary boarder into the realm of the Wild Things.
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The Open Road
The Open Road writer-director Mike Meredith must have pictures of Jeff Bridges, Justin Timberlake, Ted Danson, Mary Steenburgen, Harry Dean Stanton, and Lyle Lovett committing horrible crimes against small children or adorable woodland creatures. How else to explain their participation in a sleepy little nothing of a comedy-drama about an estranged father and son learning that it’s all about the journey, not the destination, man, during a perversely uneventful road trip? A more likely explanation is that the rest of the cast was eager to work with the great Jeff Bridges, a dependable veteran who brings his trademark laid-back charisma to the role of a legendary retired ballplayer and half-assed father who tries mightily to bond with a petulant son immune to his cornball charm.
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With Kerry Fox, Stephen Dillane and the Yugoslav conflict at the heart of this judicial thriller, Sturm is a kind of mash-up of Michael Winterbottom’s Welcome To Sarajevo twelve years on. While Winterbottom’s film was a journalist’s search for a bullet and bomb tattered truth, Hans Christian Schmid’s court drama is a cogitative quest for real justice, focusing on the human forces turning the cogs inside the International Criminal Court. Responsible for trying those accused of genocide and crimes against humanity, it’s shocking so few films have been made about a court with so much at stake, especially in the wake of recent geopolitical thrillers, such as Tom Tykwer’s The International or Sydney Pollack’s The Interpreter. But following on from Lichter’s ruminative border-line stories, Hans-Christian Schmid has uncovered an equally philosophical drama in another European no man’s land. Only this time it’s justice on trial.
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Mum & Dad
Steven Sheil's new feature, Mum & Dad, wears its many influences proudly and mostly gets away with it; largely because the social milieu in which Sheil sets his torture porn-inflected debut draws on some peculiarly British cultural reference points. After the briefest of set-ups we're planted straight onto the set of the Saw movies, by way of Hostel and The Texas Chainsaw Massacre, with a brief detour into Seven territory. Only, Mum & Dad is populated by a soap cast. Living in a Coronation Street house. Next to Heathrow airport.
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Given the seemingly never ending popularity of the Brit gangster film, it was always inevitable that sooner or later someone would take the next logical step and combine it with the horror genre. “Dead Cert” does just that, following in the footsteps of Quentin Tarantino and Robert Rodriquez’s classic “Dusk Till Dawn” by throwing vampires into the mix. Directed by Steve Lawson (“Just For The Record”), the film comes with a cast list that reads like a who’s who of Brit genre talent, including Craig Fairbrass (“Rise Of The Footsoldier”), Billy Murray (“Essex Boys”), Dexter Fletcher (“Kick-Ass”), Steven Berkoff (“44 Inch Chest”), Dave Legeno (“Harry Potter And The Half-Blood Prince”), top character actor Jason Flemying (“Clash Of The Titans”) and even a bonus in the form of a cameo, from the one and only Danny Dyer (“Basement”). The film now arrives on DVD via Momentum Pictures, coming complete with a making of featurette and audio commentary.
Fairbass plays the titular Freddie ‘Dead Cert’ Frankham, a former crook trying to turn respectable and take a few steps up the ladder by opening up a sleazy London nightclub. Unfortunately for Freddie and his various underworld pals, said club just happens to be on the site of an ancient Black Church, established back in the 17th Century by a Romanian vampire warlord imaginatively called The Wolf. On the opening night of the club the evil one returns in his new guise as a feared Romanian drug lord, determined to rest his former seat of power back from Freddie and his goons and start an all new reign of darkness.
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After years in Hollywood obscurity, Kevin Spacey returns to the type of complex role that established him as one of the great actors of our time by portraying former super-lobbyist Jack Abramoff. As Spacey opens up giving himself a pep-talk in a mirror, we instantly recognize the great actor and the tone is set that this is going to be an intense ride. Even though the film couldn’t live up to what it set up for us in that great opening scene, it was still nice to see Spacey at the top of his game and give life to a character that could have faltered in the hands of a less talented actor.
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To like Wolf Creek, you have to be a horror fan - or a parent desperate to drive home the advice not to speak to strangers. I'm a little mystified by the strong negative reaction the film has received in some quarters. Based on the response of some critics (those who claimed to have been "sickened" and "repulsed"), I expected an exercise in pointless, gory excess. But what Wolf Creek offers is a competently made horror excursion with an unfortunate reliance upon clichés balanced off by some legitimate shocks.
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When Charlie's Angels first hit the TV airwaves in the 1976-77 season, it was a national phenomenon. Every Wednesday night, millions of household sets would be tuned into ABC for the further adventures of the three "legs" of millionaire private investigator Charles Townsend. Although the TV program was popular across-the-board, it drew its greatest interest from two demographics: prepubescent females, who saw the Angels as strong role models, and post-pubescent males, whose interest lay in the Angels' other... ahem... assets. For five seasons, Charlie's Angels flourished before being consigned forever to rerun limbo.
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Man Bites Dog
Man Bites Dog is a pseudo-documentary that follows the killing sprees of the murderous Benoit (Benoit Poelvoorde). With cameras rolling, he calmly explains his theories about killing people and weighing down the bodies so they won't float to the surface of whatever river or lake he dumps them in. He then proceeds to slaughter person after person, respecting neither age nor sex nor race, and murdering in a wide variety of ways from strangulation to a bullet to the head. All the while, the film crew trails him, heedless of the danger they put themselves in, and uncaring as they are drawn deeper and deeper into the psychotic, criminal world of their subject.
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A retired CIA-agent named James Dial (Wesley Snipes) is living his life in seclusion on his ranch in Montana when he is offered the chance to redeem himself by his former employer, Jeremy Collins (Ralph Brown). A few years ago, Dial was seconds away from taking down notorious terrorist cell leader Ali Mahmud Jahar (Nikolai Sotirov) when a distraction allowed Jahar to escape, marking the mission as a failure. Now, Collins wants Dial to eliminate Jahar, who has been captured and is now in the custody of the police in London, England.
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The Parole Officer
Simon Garden is a well-meaning but ineffectual probation officer. At the beginning of the film, he is facing a tribunal after his entire department in Blackpool submit complaints against him, Garden having only had three successes in his career. He is therefore transferred to Manchester.
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The Good Thief
Set against the glitzy backdrop of the French Riviera, aging gambler Bob Montagnet is about to gamble it all on the casino heist of a lifetime a spectatcular sleight of hand--two heists, one real, one not, but which is which? Under the watchful eye of Roger, a policeman who would as soon save his longtime opponent as arrest him, Montagnet assembles a team that consists of partners Paulo and Raoul, technical mastermind Vladimer, former-drug-dealer-turned-informant Said, Anne, a young Eastern girl Montagnet rescued from prostitution, and the perfect complement to a double theft--identical twins Albert and Bertram.
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In Chicago, Wesley Gibson works at a dead-end desk job with an overbearing boss, takes anti-anxiety medication for panic attacks, and has a live-in girlfriend who cheats on him with his best friend Barry. One night in the pharmacy, Wesley is told by a mysterious woman named Fox that his father was a recently murdered assassin, and the killer, Cross, is after him. Cross and Fox engage in a shoot-out followed by a car chase in the streets of Chicago. Wesley manages to escape and Fox then has a shoot out again with Cross, causing a car accident that knocks Wesley unconscious. Fox brings Gibson to the headquarters of The Fraternity, a thousand-year-old secret society of assassins. The group's leader, Sloan, explains that Wesley's panic attacks are actually the untrained expression of a rare superhuman ability; when stressed, the drastically increased heart rate and adrenaline levels result in bursts of superhuman strength, speed, and reflexes – demonstrated when he successfully shoots the wings off of a fly. The Fraternity can teach him to control this ability, so Wesley can follow in his father's footsteps as an assassin, beginning by inheriting his fortune. Wesley is initially reluctant and returns to work, only to finally snap when discovering several million dollars in his bank account. He excoriates his boss in front of the entire office, and on his way out, smashes Barry in the face with a computer keyboard. Fox is waiting outside to take him back to the Fraternity headquarters—an unassuming textile mill.
Farmer Vincent kidnaps unsuspecting travellers and is burying them in his garden. Unfortunately for his victims, they are not dead. He feeds his victims to prepare them for his roadside stand. His motto is It takes all kinds of critters...to make Farmer Vincents fritters. The movie is gory, but is also a parody of slasher movies like Last House on the Left.
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In South Boston, where Irish roots run deep and Catholic tradition reigns, two brothers face similar hardships but lead far different lives. While older brother Terry descends into drugs and crime, 16-year-old Cole vies to make the state baseball championships - but must struggle to withstand his brothers destructive influence. When the two inevitably clash in a life-and-death confrontation, family ties-and futures-are at stake.
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Kiss the Bride
Thomas and Robin are deeply in love and ready to spend the rest of their lives together. Nothing will stop this wedding from happening, not even overprotective feuding mothers, a missing father, and a mischievous teenage sister. However, this couple is about to face their biggest challenge. While Robin believes she is marrying the perfect man, Thomas is consumed with guilt about a past infidelity. The not-so-perfect couple s love for each other is put to the test in this irresistibly genuine comedy about love, commitment and the power of forgiveness.
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