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Never Let Me Go
Based on the acclaimed novel by Kazuo Ishiguro, Never Let Me Go is a beautifully crafted yet fatally flawed meditation on what it means to be human.
The film kicks off with a caption explaining that there was a breakthrough in medical science in 1952 leading, only a decade later, to people regularly living beyond 100.
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The Last Exorcism
The Last Exorcism follows preacher Cotton Marcus (Patrick Fabian), a disillusioned yet likable charlatan who has been staging fake exorcisms for years. He does so not just for profit but, in his own way, to help the poor, feeble-minded folks who believe that the devil has possessed them or a loved one. There's always been a non-supernatural explanation for this, but Marcus has gladly taken their money and "cured" them all. Until now.
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Emilie de Ravin does a little "moonlighting" with Cybill Shepherd in this 2009 made-for-TV movie. The Lifetime production of Nora Roberts' High Noon was shot while the actress was also playing Claire on ABC-TV's "Lost."
Aside from the hair color (Roberts' heroine was a redhead), de Ravin makes a believable Lt. Phoebe McNamara, and this TV movie stays pretty close to the 2007 novel, from what I can tell. But there are a few unintended puzzlers. I'm no cop, but I easily believed that the soft-edged McNamara could sweet-talk jumpers off ledges and convince hostage-takers to come out and have a little chat with her. Heck, I would. It made less sense to me that a specialty officer and fringe player like this would also be in charge of disciplining uniformed officers. Isn't that what cranky, no-nonsense, "I'll have your ass for breakfast" types are for?
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The Bourne Ultimatum
If nothing else, The Bourne Ultimatum represents the best of 2007's inordinately high number of so-called "threequels." Hopefully, that's not damning with faint praise. The Bourne Ultimatum, the third in the movie trilogy loosely based on Robert Ludlum's novels, is superior to its immediate predecessor but not quite as good as the original. The action is this movie is top-notch (despite the spastic camera) - full of suspense and kinetic energy - but the film doesn't have as much heart or emotional depth as The Bourne Identity. As with The Bourne Supremacy, this movie diverts so far from its "source material" that the only things retained from Ludlum's novel are the title and some of the character names. (Shades of how the James Bond movie producers approached many of Ian Fleming's books.) Ludlum's version of The Bourne Ultimatum is completely different from the one penned by Tony Gilroy and directed by Paul Greengrass.
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The talented Nick Stahl (Terminator 3: Rise of the Machines) plays the central role of Dylan, a morose funeral home employee whose only friend is his gregarious, burly Irish co-worker (Brian Lynner). After overseeing the crowded funeral of a former high school classmate, Dylan decides to fake his death to see if anyone will bother to show up at his own.
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'Nelson Mandela' (qv)'s release from prison and his ascent to a democratically elected President of South Africa marks a radical change in the country. This change away from apartheid will not be easy for anyone in the country, but Mandela has to figure out how to galvanize the residents of the country together.
Without a Paddle
Want to know why Paramount Pictures is struggling? Watch Without a Paddle and you'll gain some insight. At least the film understands what it is, as is indicated by the steaming pile of excrement that appears 2/3 of the way through the proceedings. By then, we don't really need the clue, but it's appreciated. About the only way to make things worse would have been to add Tom Green to the cast.
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Zero-star movies are a rare and terrifying breed - films that warrant recommendation only as an alternative to physical distress. Sitting in a theater as one of these examples of cinematic diarrhea unspools creates a curious tug-of-war within the viewer. On one hand, there's an almost overwhelming desire to flee from the auditorium, to get away as far and as fast as is humanly possible. On the other hand, there's a compulsion to stay - the result of a sick fascination to see if the production can possibly get worse. Such is the case with Feast, a "horror/comedy" whose dreadfulness has defeated the marketing whizzes at Dimension Films. Rather than merely dumping Feast into theaters, Dimension has elected to do a "limited dump" - the film is showing only twice (Friday at midnight; Saturday at midnight). After that, it will move to the DVD realm, where its midnight exposure will allow it to avoid the ignominy of being labeled a "direct-to-DVD" feature.
Gladiator is the kind of movie upon which Hollywood once built its reputation but rarely produces anymore: the spectacle. Filled with larger-than-life characters, gorgeous scenery, impressive set design, and epic storytelling, Gladiator is designed not just to entertain, but to enthrall. It draws audiences in and immerses them in a reality that is not their own. A boisterous reaction is expected every time the protagonist defies the odds and wins a conflict, or changes the tide of battle in his favor. This is filmmaking on a grand scale.
Natural Born Killers
Despite his reputation as one of America's foremost "serious" filmmakers, Oliver Stone's name under the "director" caption does not guarantee a good movie. I learned that lesson while enduring the seemingly-endless tedium of The Doors, and was reminded of it during some of the long, drawn-out portions of JFK. However, nothing that Stone has directed - or misdirected -- prepared me for the grotesque mess that is Natural Born Killers.
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Playing by Heart
Playing by Heart is an ensemble dramatic comedy about the many faces of love: romance, longing, loss, sex, and lust. Set in modern-day L.A., the film tells six seemingly-unrelated tales about men and women finding each other, losing each other, unearthing long-buried secrets, and discovering things about themselves and others. Nothing in Playing by Heart is groundbreaking. In fact, one could argue that every one of the stories is unremarkable to the point of being trite. But the movie is consistently well-acted and features a gallery of characters so affable that it's difficult to actively dislike any of them, or, for that matter, the film as a whole.
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Al Pacino in a Mafia movie feels as natural as peanut butter with jelly. Mike Newell, the director of such popular British comedies as Enchanted April and Four Weddings and a Funeral, is another matter altogether. When you think of a director for New York- based, mob-related motion pictures, names like Brian De Palma, Francis Ford Coppola, and Martin Scorsese leap to mind. Unexpectedly, however, Newell slides effortlessly into the genre, fashioning a motion picture that is simultaneously like and unlike traditional wiseguy films.
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The Man from Utah
After helping prevent a bank robbery, young drifter John Weston (John Wayne) is assigned by Marshal Higgins (George "Gabby" Hayes to look into a series of suspicious deaths among champion rodeo riders. Weston falls for lovely Marjorie Carter (Polly Ann Young) along the way but she gets jealous when he suddenly shifts his attention to fiery Dolores (Anita Campillo, whose name is misspelled "Compillo" in the onscreen credits).
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Creatures from the Pink Lagoon
In a small town in 1967, plucky young sissy Phillip is about to celebrate his birthday at the beach cottage owned by his best friend Stan. All of Phillips friends are gathered for the festivities, including Stans hunky-but-impulsive boyfriend Billy, Billys shy, nerdy cousin Joseph, and Randall, the chain-smoking, bitter queen of the bunch. Meanwhile, a horde of libidinous gay men - turned into ravenous flesh-eating zombies by toxic mosquitoes at a cruisy highway rest stop - are making their way towards our oblivious celebrants, eating every man in their path. With body parts washing up on shore and party guests disappearing, our heroes must find a way to stop the zombie onslaught. Will Stan keep the rotting corpses out of his spotless home? Will Joseph work up the courage to declare his love for Phillip? Will Billy keep it in his pants long enough to stay alive? Will Phillips cheating boyfriend make it to the party - and if so, will he be there to save them, or to eat them? No one is safe in this campy mix of classic B horror flicks and pre-Stonewall gay melodramas.
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When a male birth-control pill accidentally sterilizes the male population, the birth rate drops to zero and the President of the U.S. orders the CIA to scour the globe for potent males. Five are found who have yet to take the pill - a Japanese doper, a Peruvian sheep herder, a Russian prisoner, a San Francisco drag queen, and an Afro-American anthropology student who is busy boiling fat gals for the local cannibals - each of whom is codenamed The Dicktator and promptly ordered to impregnate the horniest of the worlds women.
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A mutant strain of giant ferocious piranha escape from the Amazon and eat their way toward Florida.
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