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No Strings Attached
Can sext friends be best friends? That's the question posed in the ads for the new romantic comedy No Strings Attached -- directed by Ivan Reitman and starring Natalie Portman and Ashton Kutcher -- the answer to which is pretty easy to figure out for anyone who's ever seen a romantic comedy.
Adam (Kutcher) first met Emma (Portman, who also exec produced) when they were adolescents at summer camp. Reacquainted years later, they end up becoming close friends. Adam, an assistant on a Glee-style TV series and the son of a 1980s sitcom star (Kevin Kline), is a goodhearted chap smitten with Emma, who is now a workaholic doctor and by her own admission allergic to serious relationships.
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Let's not talk about The Dark Knight – for it has no bearing on Inception beyond its directorial association; instead, let's hop in the way-back machine to one of director Christopher Nolan's earliest films, Memento. With it, Nolan showed audiences the power of a compellingly structured narrative: in Memento's case, the disorientation of amnesia and how to translate this befuddlement to the audience.
Memento is, of all of Nolan's work, the film most structurally similar to Inception; it's a cyclical narrative that aims very directly to evoke that feeling of being lost – lost amongst the lingo of fantastical terms and impossible physics, lost in a story that is layered and folded upon itself four times over. Indeed, Hollywood's obsession with 3D has extended to the storytelling process, and with Inception, it also reminds us that story and characterization still rule in the land of a thousand digital vistas.
A year from now when it’s finally on DVD, someone I know will ask me if I’ve seen Four Christmases. “Four what?” I’ll ask. “Four Christmases,” they’ll say. “The holiday movie with Reese Witherspoon and Vince Vaughn.” And I’ll respond, “no never heard of it.” As far as I’ll know that will be the truth, because by then I’ll have forgotten this movie exists. Its cliché collection of bland, formula gags will have long since been replaced in my brain by more worthy memories. Reese Witherspoon and Vince Vaughn’s empty, uninteresting characters will have long since vanished from my consciousness.
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Where magic is involved, things are rarely what they seem to be. Take Neil Burger’s latest movie The Illusionist: With a talented A-list cast (Edward Norton, Paul Giamatti) and a strong first half hour, the movie masters the art of blending a period piece setting with supernatural mystique. Then disappointingly, like an overconfident magician, The Illusionist gets too cocky and sloppy with its trickery. The gorgeously told story quickly derails into a series of gimmicks and cheats that make the magical spell go ‘poof’.
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Nicholas Van Orton is a very wealthy San Francisco banker, but he is an absolute loner, even spending his birthday alone. In the year of his 48th birthday (the age his father committed suicide) his brother Conrad, who has gone long ago and surrendered to addictions of all kinds, suddenly returns and gives Nicholas a card giving him entry to unusual entertainment provided by something called Consumer Recreation Services (CRS). Giving up to curiosity, Nicholas visits CRS and all kinds of weird and bad things start to happen to him.
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Rachel Getting Married
Filmmakers love weddings. The reasons are obvious: so many characters, so much potential for drama and romance, so many things that can go wrong. Weddings are also events that most people, in one way or another (whether as a guest or a participant) can identify with. Rachel Getting Married, Jonathan Demme's contribution to this field, uses a wedding and its attendant chaos as the backdrop for a character-based story about a young woman struggling to remain clean after emerging from rehab. Told in a simple, spare style that imitates Lars von Trier's Dogma initiative, Rachel Getting Married is anything but simple in the way it explores the complexities and contradictions of the lead character. At times, the movie gets bogged down in minutia but the emotions evoked and captured are as honest and brutal as one is likely to find on film.
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Note to readers: this review contains spoilers. If you care, come back and read the review after you have endured the torture that is Halloween: Resurrection.
There are three levels of quality in the horror genre, all of which are represented in the Halloween series. A good horror movie delivers characters worth caring about and keeps viewers on the edges of their seats with scares aplenty. John Carpenter's seminal Halloween is unquestionably in that category. A mediocre horror movie typically offers two-dimensional individuals trapped in a stale plot, yet is still able to deliver the occasional scare. Halloween installments two, four, and seven fit that description. A bad horror movie is an effective sleep tonic, with plastic, uninteresting stereotypes to go along with an utter lack of shocks, chills, or surprises. This is the division in which Halloweens 3, 5, 6, and 8 belong.
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What Women Want
The key to enjoying What Women Want - a feather-light trifle that will probably find favor at the box office - is not considering the age-old question of what might have been. The underlying premise - a male chauvinist suddenly gaining access to women's thoughts - is so infinitely rich that it could have been used as the linchpin of a truly great motion picture. However, the agenda set by director Nancy Meyers and screenwriters Josh Goldsmith and Cathy Yuspa, is of a much less substantive nature. So, rather than looking at What Women Want for what is isn't, it's most productive to view it for what it is - a romantic comedy that is as entertaining as it is inconsequential.
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Sneakers Synopsis: Lets keep this simple. It’s about a group of men who get paid to break into secured systems in order to test a companies security. Their leader, played by Robert Redford, has a past that they are not aware of. Two men hire/blackmail Redford’s character into doing a job for them. The job is fairly simple, it’s to recover a little black box from a professor of mathematics. It’s at this point that everything goes to hell for our main characters.
Enemy at the Gates
In 1942, Vassili Zaitsev (Jude Law), a shepherd from the Ural Mountains who is now a soldier in the Red Army, finds himself on the front lines of the Battle of Stalingrad. Sent on a suicidal charge against the invading Germans, he uses impressive marksmanship skills—taught to him by his grandfather from a young age—to save himself and commissar Danilov (Joseph Fiennes). Nikita Khrushchev (Bob Hoskins) arrives in Stalingrad to coordinate the city's defenses and demands ideas to improve morale. Danilov, now a senior Lieutenant, suggests that the people need figures to idolize, and publishes tales of Vassili's exploits in the army's newspaper that paint him as a national hero and propaganda icon. Vassili is transferred to the sniper division, and he and Danilov become friends. They also both become romantically interested in Tania (Rachel Weisz), a citizen of Stalingrad who has become a Private in the local militia. Danilov has her transferred to an intelligence unit away from the battlefield.
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One Point O
When computer-programmer Simon J. (Jeremy Sisto) begins finding empty plain brown paper packages in his apartment, he goes to great length to try and secure his boundaries, but the packages keep appearing. Simon attempts to find out who is leaving the packages, and his investigation exposes him to his eccentric neighbors, an artificial intelligence robot head, a virtual reality sex-game, and the possibility of a corporate conspiracy. With security cameras watching him constantly, Simon begins to lose his grip on reality, and develops an inexplicable craving for Nature Fresh brand milk. Then murders start happening in the building. Simon eventually finds out that everyone else is receiving packages too but were keeping quiet. These people also got addicted to consuming other products like fresh juice and farm fresh meat. The courier-man friend tells Simon about a corporate experiment to ‘infuse’ Nanomites in to people's brains to make them addicted to certain products. He first dismisses it as a lie but eventually understands that's indeed what's happening.
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In present-day Antioch, former minister Travis Jordan still lives, after losing his faith in God three years before when his beloved wife was murdered and the criminals never found. Suddenly, miracles happen in the little town: the new veterinarian's son survives a van accident without a single scratch; Travis' dog Max revives after being buried, twice; a paraplegic walks; a scarred teenager and her police officer father (brain tumor) heal, outside and inside. In all the events, either a group of three men wearing black were seen nearby, or only their tall, blond (possible) leader, who seems to want everyone to know, "he is coming". Very soon after this a scruffy, gentle-mannered newcomer arrives; Brandon Nichols implies through his healing work and preaching that he's Jesus Christ or a better version of a messiah. The local population worships Brandon, while Travis and Morgan feel that something is wrong and conduct an investigation, disclosing that evil has possessed the town dwellers.
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Saving Sarah Cain
The film begins with Sarah Cain (Lisa Pepper), a successful columnist at the fictional Portland Times in Portland, Oregon. Her daily column has been rejected by her boss Bill (Elliott Gould) who claims that she once wrote about her life and is now writing cheesy columns. She is furious and heads to a restaurant where she meets with her boyfriend Bryan (Tom Tate). Sarah's phone rings: It is Lyddie, Sarah's niece. Sarah's older sister, Ivy, has just died of heart failure. Sarah hurries to Lancaster County, Pennsylvania for the funeral.
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A Simple Twist of Fate
When high school music teacher Michael McCann discovers his wife is pregnant by another man, the couple divorce and Michael retreats into a life of solitude as a maker of finely crafted furniture in rural Virginia. Five years later, he lives in a small town, his only companion a valuable collection of gold coins. But his heart is set to be hurt again when Danny Newland, the unsavory younger brother of politician John Newland, crashes his brother's car outside the woods surrounding Michael's house. Desperate to recoup the loss of the car, Danny steals Michael's coins while he is sleeping and takes off into the night and is never seen again.
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Californication - Season Four Epizod
Hank Moody may be a talented author, despite his gift of the gab, especially for live seducing, his private life is a mess. Repeated attempts to have a stable relationship with Karen, also for the sake of their daughter Becca, fail because of their extreme libertarian infidelity. Hanks sexual appetite also infects talent agent Charlie Runkle, who indulges in all kinds of naughtiness too. More victims of hormones contribute to the lustily lust-loaded plot.
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Two brothers attempt to become global rock stars but can only look on as old school friends U2 become the biggest band in the world.
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