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The chief pleasure to be derived from watching Cold Souls is that it's a journey into the unexpected. To one degree or another, even the best screenplays tend to follow projectable trajectories, even when the specifics are obfuscated. Cold Souls travels so far off the beaten trail that it's difficult to discern where it might be going. Granted, the final destination is more conventional than one might expect from such an offbeat motion picture, but this is one of those movies where the journey counts more than the arrival. There aren't many analogs available; it bears a passing resemblance to the twisted conceptions of Charlie Kauffman, but even that is an imperfect comparison.
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Jason Statham has staked out a claim for this page of the calendar. Two years ago, his movie Transporter II arrived on Labor Day weekend. Last year, it was Crank. This year, it's War (although, to be accurate, this movie opens the weekend before Labor Day). However, while Statham was the main man in both Transporter II and Crank, here he plays second fiddle to Jet Li. As the inscrutable, seemingly invincible Rogue, Li gets the lion's share of the screen time. And Li is such a supercool badass that he makes Statham come across as tame and unkempt. Li and the fight scenes are the reasons to see War. Everything else, including the surprisingly convoluted plot, is superfluous.
Hedwig and the Angry Inch
It doesn't seem all that long ago when musicals were one of Hollywood's most popular genres. Each year, studios would commit millions of dollars into lavish productions featuring some of the era's song-and-dance icons: Fred Astaire, Frank Sinatra, Gene Kelly, Danny Kaye, and many others. Much has been written over the years about the musical's fall from favor - how it went from being a cash cow to a white elephant. But, regardless of what the studio heads claim, the musical is not a dead art form; it has just changed from. Over the past two years, I have seen four musicals, all of which were made outside of the Hollywood system. None of these have been close to the "traditional" musical in content or approach, but all have shared a common characteristic - like the musicals of the Golden Age, they have used song and dance to tell their stories.
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Beauty and the Beast
Walt Disney's 1991 instant classic, Beauty and the Beast, is not only the finest animated movie ever made, but deserves a prominent position on any list of all-time greats. Although not the highest grossing Disney production, nor the best-remembered by most kids (those honors go to The Lion King), Beauty and the Beast nevertheless earned the most enthusiastic notices ever by the critics and was recognized with a Best Picture Oscar nomination (considering the weak competition, it deserved to win the award). The studio knew early in development that it had a winner. In an unprecedented move, Disney screened a 70% complete work print to a packed auditorium at the 1991 New York Film Festival months before the movie was finished. The astounding reception helped to build a sense of anticipation that was unrivaled since the days of Snow White and the Seven Dwarves.
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If Meet the Feebles wasn't your cup of tea, Night of the Living Dead grossed you out, and you didn't see the humor in The Evil Dead, then Cemetery Man is definitely not for you. On the other hand, if you don't mind horrific, grotesque comedy that mixes the gore of George Romero and Dario Argento with the quixotic irreverence of Monty Python and Delicatessen, Cemetery Man provides the opportunity for a funny, strange time at the movies. This Italian picture, directed by Michele Soavi, is an all-English effort with plenty of violence (wall-to-wall blood-and-gore), sex (occasionally with dead bodies), and general weirdness. By the end of the one-hundred minute feature, you'll either be totally revolted or smirking at the inventiveness and audacity of the whole thing. Cemetery Man recalls Bob Balaban's 1993 feature, My Boyfriend's Back, but with a much nastier edge.
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Mad Love is a flawed movie that can't decide whether it wants to be a drama about mental illness, a tale of teen romance and rebellion, or a road picture. It's not that these three are necessarily mutually exclusive, but Mad Love's agenda makes them so. Because the movie is so concerned about not alienating its youthful target audience, it doesn't take risks. Everything has been watered down to maintain the PG-13 rating that will allow 15 and 16-year olds into theaters without their parents.
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THE popular image of James Bond as the man who has everything, already magnificently developed in three progressively more compelling films, is now being cheerfully expanded beyond any possible chance of doubt in this latest and most handsome screen rendering of an Ian Fleming novel, "Thunderball."
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1993′s “Sniper”, about American military snipers working in the brushes of Panama, was a minor hit. Ten years later we get “Sniper 2″, which brings Tom Berenger back to reprise his role of Beckett, an aging Marine sniper who must team up with a younger sniper to take out a military leader on the wrong side of American interests. The two movies, if you were wondering, have essentially the same premise.
This time around Beckett is brought out of retirement with the promise of “anything he wants”, and teamed up with Cole (Bokeem Woodbine), an Army sniper who was sitting on Death Row before he was plucked out to go on the mission with promises of a pardon. (In the original, the youngster was Billy Zane of “Titanic” fame.) The target this time around is a Serbian military leader in an unnamed Balkan city (or if it was named, I missed it), who has gotten on the bad side of the CIA. Since Hollywood is incapable of showing the CIA in any light other than dark and sinister (see “The Bourne Identity”), the CIA sends one of their agents to recruit Beckett to kill this latest nuisance.
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Balls of Fury
A disgraced former ping pong champion is drawn back into the world of high-stakes table tennis to carry out a top-secret mission in the feature directorial debut of Reno 911! writer/director Ben Garant. Far removed from the rigidly regulated world of professional sports, clandestine ping pong tournaments offer thrilling competition where only the strong survive.
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Pier Paulo Pasolini continues his homoerotic explorations on the screen by taking his sexual slant into the Arabian Nights. Hungry lovers lurk behind every palm tree and the parched desert thirsts are satisfied only between the silken sheets of lustful tales of the night.
While it seems like all the tales will be interconnected at the beginning, the script seems to wander in the desert, losing its way. One tale involves a slave girl who slips a young man the money to buy her at auction so they can enjoy carnal bliss. After a pointed warning from her, he sells a shawl in the market to a blue-eyed man, which results in her abduction and sends him on a lackluster search to recover his lost love. In another tale a bridegroom abandons his wife to be on the eve of their wedding for another mysterious woman. His betrayal can only come back to haunt him. Several other stories weave together the fabric of Pasolini’s vision. With a running time of 131 minutes, the film unfolds rather slowly despite the multiple stories.
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Psychiatrist Dr. Miranda Grey (Halle Berry) works at a mental hospital and has a car accident after trying to avoid a girl (Kathleen Mackey) on a road during a stormy night, while driving back home. She rushes to try to help the girl. The girl turns out to in fact be a ghost, and possesses Miranda's body by burning her after she extends her hand to the girl. Miranda loses consciousness. Miranda next wakes up in the very hospital she works for, but as a patient treated by her co-worker, Dr. Pete Graham (Robert Downey, Jr.). Drugged and confused, she remembers nothing of what happened after the car accident. To her horror, she learns that her husband Douglas (Charles S. Dutton) was brutally murdered and that she is the primary suspect. While Miranda copes with her new life in the hospital, the ghost uses her body to carry out messages (most noticeably, she carves the words "not alone" into Miranda's arm) which leads her former colleagues to believe Miranda is suicidal and is inflicting the wounds on herself.
Beauty and the Beast aka Blood of Beasts
Thorsson (Melvill-Smith) the king is falling ill and wants to make a pilgrimage to an island cursed by Odin. The island is home to a horrible beast. His daughter Freya (March) is betrothed to Sven, one of Thorrson's greatest warriors. She doesn't wish Thorrson to go, fearing the king will not return. Sven and Thorsson send a group of warriors to kill the Beast. The Beast kills many and only Sven and a few remaining warriors escape. The beast captures the king and keeps him prisoner. The beast appears to know Thorrson but Thorsson doesn't recognize him.
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Zach Riley (Aaron Eckhart) is a psychiatrist who leaves a job at a prestigious university to take up a job at the privately run mental institution, 'Millwood', belonging to Dr. Reed (William Hurt). What he doesn’t reveal at the time of his appointment is that this was the very place where his novelist father, T.L. Pierson (Nick Nolte), spent many years of his life, and later wrote a popular children’s classic, ‘Neverwas’.
The Tie That Binds
In California, John Netherwood (Keith Carradine) and his wife Leann Netherwood (Daryl Hannah) are fugitives who are wanted for murder. They have a 6-year-old daughter named Janie (Julia Devin).
John and Leann are robbing a house when the elderly residents of the house show up. After killing the two residents, John and Leann go outside, where there are cops waiting. John and Leann escape after John gets shot by Officer David Carrey (Ned Vaughn). Janie is found in the car that John and Leann left behind, and Janie is placed up for adoption.
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Buffy the Vampire Slayer
Buffy Summers has the lifestyle any young woman could want. Cheerleading, dating the captain of the basketball team, and copious amounts of time spent shopping with friends. She had no idea of her true calling until a mysterious man named Merrick approached her and told her that she is the Slayer one woman called to defend the world from vampires. Reluctant to concede to the fact, Buffy soon learns that Merrick speaks the truth and so begins to take her new life seriously while trying to maintain the sense of normality her life had once been. With her best friends slowly abandoning her, Buffy finds solace in the town outcast, Pike, who knows very well the terrors that have arisen. Together, they combat the forces of the old and powerful vampire, Lothos, who has his eyes set on Buffy.
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Dangerous Days: Making Blade Runner
The definitive three-and-a-half hour documentary about the troubled creation and enduring legacy of the science fiction classic Blade Runner, culled from 80 interviews and hours of never-before-seen outtakes and lost footage.
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