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Aliens vs. Predator: Requiem
A little town in the hills of Colorado will become the battleground between two of the deadliest extra-terrestrial lifeforms - the Alien and the Predator. When a Predator scout ship crash-lands in the hills outside the town, Alien facehuggers are released in the crash, and an even more evil creature - a hybrid Alien/Predator - is also released. A man & his son hunting in the forests near the crash site soon become the first victims of the facehuggers, and when a Predator receives data about the crash on his home planet, he comes to Earth. One at a time, the inhabitants of the town become targets of the Aliens and the Predator, including the local sheriff, a young female soldier recently returned from Iraq, and several teens. Though the National Guard is called in, they are unable to stop the deadly creatures, and a plan is set in motion to destroy the town with a nuclear device... Written by Derek O'Cain
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In the screwed-up summer diversion Hancock, Will Smith plays a disheveled, hard-drinking, Los Angeles-based superhero referred to on the street by cute kids and peaceful oldies alike as an a--hole. The designation is a punch line in itself, uttered throughout the movie with a glee that challenges profanity conventions in a mainstream publication, since one of the feats Smith sets for himself in his latest attempt at Fourth of July box office superheroism is to apply his kryptonite-resistant personal likability to a character who is, at first glance, a real schmuck. After some sort of accident, the reluctant crimestopper doesn't know who he is or why he's in L.A. (hence the generic name John Hancock); he just knows he possesses otherworldly talents for flying and hurling automobiles, among other attributes useful for surviving in the City of Angels. And at first close encounter, he's an alcohol-soaked curmudgeon with a bum's wardrobe and a really bad attitude. Even those he saves wish he would go be a hero somewhere else.
Vanishing on 7th Street
Making its world premiere at Toronto’s Midnight Madness section – where Anderson previously launched his Christian Bale psychological thriller The Machinist – Vanishing On 7th Street should easily find an audience among fans of apocalyptic thrillers, a genre that has been a staple of recent years, encompassing everything from I Am Legend to The Road. With a small cast that includes Hayden Christensen and Thandie Newton, Vanishing could be a moderate box-office performer for a filmmaker who tends toward niche indie fare.
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Vikings vs. aliens -- you're either with it or not. It's a curious concept, likely greeted by one of two reactions -- either palpable intrigue or a total and utter lack of interest -- and even those intrigued know that a killer pitch can't stop a SciFi Channel level stinker from being just that (Sharks in Venice, anyone?). Well, rest assured that this version of that story, which opens in select markets today, isn't all hollow kitsch -- in fact, Outlander is probably the best possible version of whatever movie you've already made in your head from reading those first three words.
Cry of the Owl
Patricia Highsmith (1921-1995) was an American mystery writer of novels and short stories who came to fame in the 1950's with "Strangers on a Train" and "The Talented Mr. Ripley." Her most-popular character, the amiable antihero-murderer Tom Ripley, became so famous, she wrote four more books about him (but he's not in the movie reviewed here, more's the pity). Filmmakers have also loved her work, and even one of her lesser efforts, "The Cry of the Owl," which she wrote in 1962, has now seen two screen appearances, first in 1987 from the French New Wave director Claude Chabrol and in 2009 in this direct-to-video production from British writer-director Jamie Thraves ("Negative," "The Low Down"). Unfortunately, neither filmmaker could make much of Ms. Highsmith's somewhat dour, slow-moving book.
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Final Destination 2
Having to rely on a middle-man sucks, even for Death. The problem is, while He gets His due, someone else – usually a guy in a hockey mask or wearing Lee press-on steel nails – steals all the credit. And at least one intended victim always gets away. Jamie Lee Curtis and Heather Langenkamp in particular have been slippery. So, after years of pulling the strings behind the scenes, Death has finally decided to take matters into His own hands. That's where the Final Destination movies come in, since they mark the feature debut of Death Himself as a serial killer. No more sitting around playing chess in Bergman films.
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I Am Sam
Never trust a serious drama that uses a line from a Dr. Seuss book as its title. I Am Sam (inspired by a line from "Green Eggs and Ham"), despite boasting interesting character relationships, stumbles and falls because of a storyline that consistently overlooks real-life situations when it isn't pandering to the needs of those who want every screenplay to be constructed from cliches. Of course, there's also the problem of overt manipulation - subtlety is not one of this film's hallmarks - but that's to be expected from any motion picture that so obviously wants to be regarded as a tear-jerker.
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Once Were Warriors
Once Were Warriors, a New Zealand export, is centered upon the touchy yet timely topic of domestic violence. It is not, however, merely another "domestic violence motion picture." With its complex cultural backdrop and its stark view of this societal cancer, Once Were Warriors attains a level where it is equally painful and potent.
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The wonderful thing about dreams, like hope, is that everyone can nurture their own, and there's no cost. It's taking the next step -- transforming those wispy ideals and half-realized wishes into reality -- that demands a price, and sometimes a high one at that. Hoop Dreams, the tale of two high school basketball players, is less a story about the sport than it is a chronicle of life in the inner city and of following Aldous Huxley's advice that "a man's reach should exceed his grasp."
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Robin Hood: Beyond Sherwood
12th Century England It is a deadly time of dark tyranny, black magic and the outlaw archer known as Robin Hood. But when the Sheriff of Nottingham unleashes a winged monster upon the nearby town...
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After con artist Joe Dolan accidentally kills his father Mike during a sting, he tries to carry out Mike's dying wish by recovering valuables that Mike's twin brother Lou (also played by Coburn) stole from him years earlier. But Uncle Lou is also a confidence artist, and Joe is soon drawn into his increasingly dangerous schemes.
The film takes place in a 1950s-esque alternate universe where radiation from space has turned the dead into zombies. This resulted in the "Zombie Wars", where humanity battled zombies to prevent a zombie apocalypse, with humanity the ultimate victor. The radiation still plagues humanity, as all those who die after the original contamination turn into the undead, unless the dead body is disposed of by decapitation or cremation. In order to continue living normal lives, communities are fenced with the help of a governing corporation named Zomcon. Zomcon provides collars with accompanying remote controls to control the zombies' hunger for flesh so as to use them as slaves or servants.
A Brush with Death
Five high school cheerleaders drive out to a rural mansion to spend the weekend. They hear a thirty year-old urban legend about a young boy who killed his family and used their blood in his juvenile artwork. While exploring an old farmhouse on the property they discover that the boy never left his home and has grown into a sick and twisted man.
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A psychic finds herself tapping into the energy of a deceased phone operator. She also finds that her friends soon begin dying mysteriously. An investigator determines to track down the cause.
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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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More Dogs Than Bones
A series of mishaps and misfortunes over 1 million in cash leads to murder, mayhem and greed.
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