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New Town Killers
Anyone who has seen Neil LaBute's In The Company Of Men (1997) might recognise something familiar in New Town Killers. Here, once again, two white-collar workers, one a sociopathic alpha male, the other imagining he wants to be one, plot to destroy an innocent party as part of a callous game – until one of the two lets the side down when he is confronted by the humanity of both their prey and of himself.
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Probably the only thing that people are wondering about the Wayans’ Dance Flick is whether it’s closer to Don’t Be a Menace or White Chicks. Unfortunately, I’m pretty sure everyone already knows the answer. For whatever reason, the Wayans’ brand of comedy has fallen off from the Ivory tower it was perched on in the mid-90s. Maybe time has passed them by while failing to innovate, maybe they stepped too far back from the cutting edge, maybe having every member of their family contribute creatively waters down the humor. Who knows. What’s for sure is that Dance Flick falls flat.
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There really isn’t much of a point in reviewing a spoof flick like Superhero Movie, which is probably why studios don’t offer advance screenings to critics most of the time. At one time parodies were well crafted and pointed out the flaws and foibles of a genre. Now screenwriters are content to take the entire story from one movie, add in a bunch of body humor jokes, and call it a day. If you’ve liked the spoof movies that came before, you’ll probably get your yuks from Superhero Movie, otherwise it’s best to just steer clear.
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Just going by the poster and the trailer, you could probably recognize Babylon A.D. as a bloated big-budget science fiction film. But after viewing the film, and with a few facts to put the film in context -- like the fact 20th Century Fox didn't screen Babylon A.D. for critics, like the fact director Mathieu Kassovitz has already disavowed the film, like the numb dumb clang of every line of dialogue in it -- you realize that Babylon A.D. is a bad, bloated big-budget science fiction film that doesn't even have the distinction of being memorably horrible or bravely idiotic or fascinatingly inept; it's simply an inert mass, a lump of product, a failure too expensive to simply discard.
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A creepy store displaying a doll resembling the child that walks by it is the setting for “Alma,” a 2009 short animated CGI film (less then 6 minutes long) that is supposedly being converted into a full-length animated feature by Dreamworks in the not-so-distant future.
Hey folks, Valkor here. And I welcome you to TOV's "30 in 30", where I'll review 30 unique film and maybe some not so unique, all in 30 days. What's cool for most of the flicks, is that I know nothing about em. So this should be a real treat not just for you guys, but for me as well. Good or bad, this is gonna be a fun month. It all starts today July the 4th and ends on Aug the 3rd. Can I make it through? We'll know soon enough!
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Barnyard: The Original Party Animals
"Barnyard: The Original Party Animals" just isn't that funny. The few amusing moments it has are offset by rather scary moments and cheesy, sappy moments. Young kids might enjoy it, but parents will probably get bored fast.
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Ten Items or Less
Here's a movie that falls into a category titled "Under the Radar and Straight from the Heart." I have now forgiven director Brad Silberling for making Moonlight Mile, the painfully melodramatic weeper from 2002. The Lemony Snicket film helped get him back into my good graces and his latest, Ten Items or Less, has decided matters. This low-budget, unpretentious film is as charming as any 2006 release, and it proves that the class of Morgan Freeman and the fire of Paz Vega can carry a motion picture.
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In the world of comic books, there are A-list titles and B-list titles. For the movie adaptations, it's easy to tell the two apart. The B-list films feature characters who are not universally recognizable, typically do not command huge budgets, and are released outside of the prime summer months of May through July. Ghost Rider is such a movie. Despite an incredibly silly premise, the comic was popular at one time, possibly because of the cool image presented by the title character. With its cheesy special effects and blasphemously imbecilic storyline, one wonders whether the celluloid version of Ghost Rider will find an audience.
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Not to be confused with the early-'90s Kieslowski film of the same name. Definitely not.
Sometimes, casting makes a difference. Under the stewardship of the same director with the same screenplay, Red might be an enjoyable-but-forgettable late year action/comedy - the kind of thing one might bypass in the theater, recognizing that the multiplex is just a brief stop on the movie's road to DVD. However, with so many A-list actors fighting for space on the marquee, it's impossible to view Red so dismissively. It's a lot of fun and, because of the high quality of the cast, there's no need to feel guilty about praising such an inherently silly motion picture. Like The Expendables, this is fast-paced, high octane entertainment for the AARP crowd. It never takes itself too seriously, which is a good thing because it's a stretch to imagine some of these actors doing the stuff they're called upon to do. All that's
Hustle & Flow
Hustle & Flow takes a clich? and imbues it with new life through the virtues of directorial flair and talented acting. For most of its running time, Hustle & Flow follows familiar patterns, deviating only during a third act that brings the street's grit into what initially appears to be a happily-ever-after fairy tale. Never fear, though - writer/director Craig Brewer respects his characters too much to leave them in an unredeemed state.
Terrence Dashon Howard, who can also currently be seen in Crash, has the lead role of DJay, a pimp with a heart as gold as one of his teeth. DJay shares a house with his three hookers, all of whom have different relationships with him. Nola (Taryn Manning), the youngest, views DJay as a father-figure. Because of her age and skin color (she's white), she has the best earning power. Shug (Taraji P. Henson), carries a torch for DJay, and he for her. Because she's pregnant, she's not on the street. Lexus (Paula Jai Parker) is arrogant and confrontational, and her attitude frequently rubs DJay the wrong way.
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Nutty Professor 2: The Klumps
Eddie Murphy's 1996 remake of The Nutty Professor is one of those movies that, at least from a creative perspective, neither deserves nor warrants a sequel. What's the point? More of the same, it seems. Any time a movie makes $130 million in the U.S. and nearly $250 million worldwide, and the potential, however thin, for a second installment exists, the film will be made. So, the existence of Nutty Professor II: The Klumps is a purely economic endeavor, a workmanlike deal for which journeyman comedy director Peter Segal (Naked Gun 33 1/3, My Fellow Americans) was hired. And, from the opening credits, it looks and feels that way.
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When her husband dies in the wedding night Judy decides to join the army. What looks like a bad decision at first, turns out not so bad at all. That is, until her superior makes sexual advances. She is transferred to NATO headquarters in Europe and (re)meets the Frenchman Henri. Judy and Henri decide to marry, but will they ?
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Doctor Death: Seeker of Souls
John Considine plays the flamboyant Dr. Death, a thousand-year-old magician who has mastered he art of transferring souls from one body to another and thereby manages to perpetuate himself by jumping from one body to the next. Apparently the Doc is a kindred spirit since his blood is a highly-corrosive acid that can strip flesh from bone.
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Eddie Ifft Live
Known for his quick wit and caustic style of comedy Eddie Ifft has a habit of speaking first and thinking never. This gets him in trouble - often. By his own admission Eddie says the most inappropriate things but somehow gets away with it. See Eddie at his very best in this extremely special presentation filmed in front of a sold out audience in Sydney Australia.
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Mad Sad & Bad
HARDEEP, RASHMI and ATUL are brothers and sisters. Which means they can say anything they like to each other, no matter how honest. Mad, Sad and Bad is a 90-minute comedy about mixed race relationships set in Luton. Its about mid-thirties siblings and friends whose personal lives are continuously messed up by their own selfish needs. Mad, Sad and Bad explores our contemporary metropolitan neuroses through the intersecting lives of these siblings and their friends. The narrative slips from one character to the next as they escape and attack each other. all reluctant members of the same dysfunctional family.
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