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The United States Constitution. The Library of Congress. Mount Rushmore. The teen sex comedy… All of these are national treasures, aspects of American life that we hold sacred -- those things that have made the United States the great nation that it is today. And as important as these treasures are to us, it is not often that a new member is accepted into this very elite club. Only the best, the brightest, the most influential and momentous of artifacts can make it. And unfortunately, Fox Atomic's new film Miss March does not fall into that category.
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Sometimes after watching a fantastic film you get that sudden rush of enjoyment and sheer excitement that the horror genre is head in the right way again. After watching Babysitter Wanted I had that feeling and I knew that the horror genre is still capable of pumping out fantastic films on a budget. This is one of those films that I am very proud to be able to review and let everyone know that this is a film that you have to keep your eye on. It is without a doubt one of the best films I have seen in the past ten years. So may this review serve as an open letter to all the horror fans, distributors and fellow horror critics hunt this movie down and watch it. You won't regret it.
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The Lincoln Lawyer
Matthew McConaughey may be the only actor in Hollywood who can swagger while sitting down. He drawls and cracks out that toothy grin and it’s lock-up-your-daughters/hide granny’s mattress money time. You either fall for his charm or roll your eyes at his chutzpah.
“The Lincoln Lawyer” gives this charming devil his due, a role that plays right into his wheelhouse — a slick, smarmy, hustling lawyer whose clientele is the rough trade; hookers, pot pushers and biker gangs. Mick Haller (McConaughey) cajoles, sweet-talks and overcharges many of those clients, doing business in and around LA out of the back of his late model Lincoln town car. But what game can Mick run when he is hired by Beverly Hills money to defend a very rich and seemingly quite dangerous young man (Ryan Phillippe)?
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Flight of the Intruder
Flight of the Intruder is an old-fashioned, red-blooded war film, a guts n' glory actioner that looks with unwavering pride at the heroic actions of its masculine heroes. It fuses the patriotic fervor of a John Wayne war flick with a clear affection for Tony Scott's Top Gun. Particularly odd that it would apply such techniques to a movie about the Vietnam War, a conflict that has traditionally been portrayed as either horrific or extremely horrific. Coming not too long after such films as Platoon and Full Metal Jacket, the jingoistic nature of Flight of the Intruder rubbed many the wrong way. While I don't find the movie as morally reprehensible as something like Wayne's The Green Berets (for one thing, this film is far more honest about the war than that one), it certainly seems more than a bit misguided in terms of tone.
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Kill Me Please
Dr Kruger is a medical pioneer who seeks to break the taboo surrounding suicide. His government funded clinic exists to ensure that suicide is no longer a tragedy but a medically assisted way out for those whose lives have become unbearable. By studying his suicidal patients, Kruger hopes to understand the self-destructive impulse so that he can develop a medical treatment that will overcome it. The one thing he has not allowed for in his prescribed perfect suicide is that no one controls the impulse to die except death itself...
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A film of uncommon depth, intelligence, and sensitivity, Munich defies easy labeling. Watching the movie is like reading a top-notch espionage thriller by Le Carre or Deighton. Yet, at the same time, this is a visual experience. The moral and ethical elements, layered atop a story that is ripe with suspense, put to shame Hollywood's typical ventures into this genre. Munich is an eye-opener - a motion picture that asks difficult questions, presents well-developed characters, and keeps us white-knuckled throughout. It is the best film of 2005.
It would be unfair and inaccurate to refer to Bee Season as "another dysfunctional family drama," although, in essence, that's what it is. Adapting from Myla Goldberg's novel, co-directors Scott McGehee and David Siegel (The Deep End) have fashioned a film that traverses an unusual path through the minefield of a splintering family. In addition to spelling bees (which the title alludes to), Bee Season explores Jewish mysticism, mental illness, and the Hare Krishna religion (which may be making its first screen appearance since Airplane!). In the end, it all seems too much for one small movie to contain. Parts of Bee Season work better than others, but I left the theater feeling more like I had watched the outline of a movie than been immersed in a fully realized motion picture.
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Eventually, it had to happen: a computer-animated dud. It's surprising it has taken this long, and we have been spoiled by the high quality of the product, with such winning titles as Toy Story, Shrek, Finding Nemo, The Incredibles, and others. But, with the death of traditional animation and the proliferation of titles in this arena, a slip in quality was inevitable. Thus far, 2005 has seen two of these movies: Robots and Madagascar. And, although Robots was mediocre entertainment, Madagascar slips a notch below that.
Last year, when I heard about a film on the way called Notorious, I was concerned that there would be an "updating" of Alfred Hitchcock's film of the same name. Thankfully, this is not the case. Notorious is not an example of a remake, but it is an example of a whitewash. A bio-pic of the influential '90s rapper Notorious B.I.G. a.ka. Biggie Smalls a.k.a. Christopher Wallace, Notorious purports to provide an intimate perspective of the iconic figure's life. Considering that his mother and close friend are listed among the co-producers and his son plays him as a child, one can safely assume this does not present an unbiased account of the facts. The film, directed by George Tillman Jr., effectively neuters any thuggishness in Biggie's character, leaving us with a protagonist who is essentially a good man guilty of having made some bad decisions.
The Crow is a gothic nightmare. With a view of Detroit that is every bit as bleak and dazzling as the urban panoramas presented in Batman and Blade Runner, this film makes it clear from the outset that wherever its flaws may lie, they will not be in the realm of visual presentation. Indeed, not only is The Crow a feast for the eyes, but it collides violently with another sense, utilizing a high decibel soundtrack to keep the energy level up.
The film starts with Cristina Moreno applying to Princeton University. She tells the story of her childhood in her college essay.
Flor Moreno (Paz Vega) is a poor, Mexican single mother who gets hired as the housekeeper for John (Adam Sandler) and Deborah Clasky (Téa Leoni), their kids Bernice (Sarah Steele) and Georgie (Ian Hayland), and Deborah's mother Evelyn Wright (Cloris Leachman), a rich American family. John is head chef at a popular restaurant, Deborah a former businesswoman turned stay-at-home mother and Evelyn a former jazz singer.
The Count of Monte Cristo
Edmond Dantès (James Caviezel) and his friend, Fernand Mondego (Guy Pearce), officers of a French trading ship, head to Elba seeking medical attention for their captain. Dantès and Mondego are chased by English Dragoons who believe they are spies for the exiled Napoleon Bonaparte (Alex Norton). The Emperor arrives and declares they are not his agents, and asks Dantès to give a letter to a friend in France. When the captain dies that night, they are sent on their way. At Marseilles, Dantès is reprimanded by the ship's first mate, Danglars (Albie Woodington) for disobeying orders. However, the shipping company's boss, Morrell (Patrick Godfrey), commends Dantès' bravery, promoting him over Danglars. Mondego intercepts Dantès' fiancée Mercédès (Dagmara Dominczyk) and unsuccessfully tries to seduce her. When he hears of Dantès' promotion, Mondego realizes that Dantès will be able to marry Mercédès sooner than expected.
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Mr. St. Nick
n Mistletoe Manor, King Nicholas XX, commonly known as Santa Claus (Oscar and Emmy nominee Charles Durning, Hard Time), and his wife Carlotta (Emmy nominee and Golden Globe winner Katherine Helmond, Whos The Boss?), arent feeling particularly jolly. With Christmas only weeks away, the aging king is ready to pass his throne to the Crown Prince, Nick St. Nicholas (Golden Globe and Emmy winner Kelsey Grammer, Animal Farm). But the sexy Santa-to-be is a no-show heir with other priorities - his lavish seaside estate, leggy newswoman Heidi Gardelle (Elaine Hendrix, The Parent Trap), and public relations expert Hector Villarba (Luis Garcia, American Family). Heidi and Hector may not know Nicks true identity, but they do know that he is the prince of benefits. Their plan? Use his knockout connections to create an on-line holiday charity. Nicks all for it. Unfortunately, the problems are just beginning. A charge of fraud has turned Nicks charity into a nationwide scandal. Whats it going to take to prevent Christmas from becoming a dim memory? Nothing short of a miracle.
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Art of Revenge
After Matt Kane leaves his wife Lara after seven years of marriage for the single, fast life that he wanted all his life after getting a promotion at work, she plots revenge against him by hiring an female ex-con and grifter, named Tuesday, to romance and bring him down in a series of encounters and plots while loyalties begin to be tested as to who is ploting against who.
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Love & Sex
When her rather explicit copy is rejected, magazine journalist Kate is asked by her editor to come up with an article on loving relationships instead, and to do so by the end of the day. This gets Kate thinking back over her own various experiences, and to wondering if she is in much of a position to write on the subject.
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Legend of the Red Dragon
A young father and his infant son are beset by forces of evil and corruption. They wander China, upholding their sense of honor and protecting the weak. When they are forced into combat, spectacular and hilarious fast-motion kung fu sequences follow. In the end, they must call on all of their abilities in a battle royale, to attempt to vanquish a supernatural man-monster or die trying.
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