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Friday Night Lights
Flipped is Rob Reiner's best film in 18 years, and includes echoes of two of his most accomplished efforts, The Sure Thing and Stand By Me. It also may be 2010's best romantic comedy. And it is being buried by Warner Brothers because of a concern there's no audience for it. It's impossible to judge whether the film's distributors are correct - tepid box office results often occur when a movie's release date is staggered and juggled and when the marketing campaign is almost non-existent. The bottom line is that many who might be interested in Flipped will be unaware of its here-now/gone-tomorrow release and will have to wait for the DVD. The sad thing is, Reiner has struggled for nearly two decades to get back to the level he was at in the late-'80s and early '90s and, now that he's achieved it, no one seems to care.
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The marketing goal with Baghead is to turn it into another The Blair Witch Project: a horror film where the terror is more psychological than physical and where the characters spend a lot more time chatting and arguing than running for their lives. The problem with Baghead isn't that it's cheaply made but that it's sloppily composed. Even under the most undiscriminating scrutiny, its logic doesn't hold up. The acting varies from awful to sub-par. And the direction celebrates the film's low budget. Baghead contains individual moments that work effectively but, when assembled into a whole, everything crumbles like a poorly stacked house of cards.
Maria, Full of Grace
When applied to an animal, the term "mule" refers to a beast of burden - a slow, plodding, stupid creature whose sole asset is that it can transport large amounts of cargo without choice or complaint. When applied to a human being, the word means essentially the same thing, or at least that's the perception of those who employ the "mule." In the drug world, mules are used to carry the product into countries without being detected. Instead of being stashed in luggage or sewn into jacket linings, where they will likely be detected, the illegal substances are transported in the stomach of the mule. It's a dangerous business, but, for those who normally make poverty-level wages working long hours, the money is sometimes too great a lure.
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In the Magic Kingdom, they must be getting nervous. For years, Disney has had a death grip on the animated market, but, as we enter the latter years of the 1990s, the corporation that gave us Bambi and Snow White is finding their dominance challenged. Fox's Anastasia was actually better than last year's Disney animated film, Hercules. And now, as the Mousketeers prepare the bring the computer-generated feature A Bug's Life to the screen, Dreamworks has engineered a preemptive strike by launching its own computer-animated insect epic, Antz, two months earlier.
There's no doubt that the subject matter tackled by Arlington Road is topical. Terrorism at home is a very real danger in this current climate of world uncertainty, and, arguably, a greater danger is posed to U.S. security by radical political groups within this country than by outside forces. By borrowing heavily from the images and events surrounding the Oklahoma City tragedy, Arlington Road postulates that there might be a huge underground conspiracy driving this sort of activity, and, if it isn't stopped, history will repeat itself. As long as there's a patsy to take the fall, there's no motivation to dig deeper.
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It's difficult to explain the full range of emotional impact caused by Exotica. The latest offering from Canadian film maker Atom Egoyan (Family Viewing, The Adjuster) is as beguiling as it is baffling. Not until the final scene does everything finally snap into focus, and when it does, the revelations have all the sudden, stark clarity of a vast nightscape illuminated by a flash of lightning. Past scenes come rushing back with new meaning. Whole perspectives change. Egoyan has taken a seemingly-simple story and woven it into a near-masterpiece, creating images and an atmosphere that establish the perfect backdrop for a tale of loss, grief, and eroticism.
Perhaps the most intriguing question associated with this movie is what to call it. Originally, the film bore the moniker of Jane Austen's Mafia, but, when test audiences were confused by the title (an inexcusable 90% of Americans claim not to know who Jane Austen is), Touchstone Pictures rushed out new posters that cite the movie as Mafia! However, they neglected to change the title in the opening credits, which still reads Jane Austen's Mafia. I actually prefer the original name, because it shows some evidence of wit, a quality that this film is lacking in.
Pi, the letter, is a character in the Greek alphabet roughly equivalent to the English "p." Pi, the mathematical notation, is commonly used to represent the ratio of the circumference of a circle to its diameter. Pi, the movie, is Darren Aronofsky's debut feature (and the winner of a directing award at the 1998 Sundance Film Festival), an independent science fiction thriller that combines questions about God and infinity with the personal struggle of one man to regain control of his life.
A Good Night to Die
One day in the life of a hit man, Ronnie, who spends it trying to save the life of fellow hit man, August, who he had brought into the business three years ago. August has become a real problem for some of the bosses around town, and Ronnie will soon find out just what his Frankensteins monster will cost him.
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Veterinary assistant Corky Romano (Chris Kattan) having been banished from his family after the death of his mother, is unaware of their underworld connections until he receives a call from his father, "Pops" (Peter Falk) a Mafia crime lord. Pops has been indicted on racketeering charges, and, knowing that the prosecutors have a strong case against him, has concluded that the only solution is to somehow destroy the evidence held by the FBI.
At the family mansion, an ailing and bedridden Pops convinces Corky to infiltrate the local FBI office, since the Romano family cannot send anyone with known underworld connections, such as Corky's brothers Paulie (Peter Berg) and Peter (Chris Penn).
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Martin Raikes (Michael Keaton) is a bank investigator who is sent to Monaco to check up on the shady dealings of a movie production. After the business trip, he'll then fly over to London to visit his daughter.
When Martin arrives in Monaco, he is met by the film company's CFO, Lela Forin (Judith Godreche) and washed-up action star Jake Mellows (Michael Caine).
Their stories are different... but their profession is the same.
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Rest Stop: Don't Look Back
In the 1970s, the Winnebago family encounters the Driver (Brionne Davis) standing on the side of the road next to the yellow pickup, out of gas. Once in the R.V., Mrs. Winnebago begins to flirt heavily with the Driver, asking Scotty, her physically deformed child, to take a picture with his camera.
Later that night, Mr. Winnebago finds the Driver having sexual intercourse with his wife. His wife then claims she is being raped (which she was not) and prompts her husband to attack, torture, and kill the Driver. The Driver's ghost later kills the family across the street from the rest stop.
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Emma (Moss) has a strong aversion towards her family’s new house, especially the attic. After moving in, she becomes miserable and reclusive. The rest of her family also seems unhappy and unsettled. The situation escalates one day when Emma is in the attic alone. All of a sudden someone who looks exactly like Emma attacks her viciously.
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In northern Australia at the beginning of World War II, an English aristocrat inherits a cattle station the size of Maryland. When English cattle barons plot to take her land, she reluctantly joins forces with a rough-hewn stock-man to drive 2,000 head of cattle across hundreds of miles of the countrys most unforgiving land, only to still face the bombing of Darwin, Australia, by the Japanese forces that had attacked Pearl Harbor only months earlier. In 1939, the aristocratic Lady Sarah Ashley travels from Great Britain to Australia to meet her husband Maitland Ashley in northern Australia. The husbands drover comes to the city of Darwin to bring Sarah to their farm however, when they reach Faraway Downs Farm, they find that Maitland was murdered. Sarah befriends Nullah, who tells her that the administrator Neil Fletcher is stealing her cattle has killed her husband and is working for the cattle baron King Carney. Sarah fires Fletcher and his men and together with Drover, Nullah and a group of loyal employees, they ride together to take the cattle to supply the army and win a tender in times of war. But the ambitious Fletcher has other intentions and uses Nullah to press Sarah.
The first time Sarah tries drugs is the first time she goes out with Tim, who was a customer of hers in the Dew Drop Inn Cafe. Tom is sweet and cool and after one night, she moves in with him leaving behind her alcoholic mother and younger sister, Karen. For a while life is great and drugs are just part of the deal and most of the fun. But then things start getting complicated and shes not sure if she can handle it - theres one rave too many, a bad trip and she gets roughed up while doing a drop off for their dealer. Also, events at home mean that she cant block it out any longer her mum needs her and Karen needs her. In turn, Sarah needs Tom, but will he - or can he- be there for Sarah?
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