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Transporting legendary sky nomad Amelia Earhart to the screen is nothing new. Various sightings and incarnation across the decades range from Amy Adams in Night at the Museum: Battle of the Smithsonian, Rosalind Russell in Flight For Freedom, Close Encounters Of The Third Kind and Star Trek: Voyager, to Diane Keaton and even as a side dish to a biopic about Shirley Temple.
We Own the Night
Irony is on the outs. This fall it's fashionable to show your true colors, and moviemakers are straining to impress with the kind of moral seriousness we haven't seen in American cinema since the 1970s.
OK, so I'm not thinking of "The Heartbreak Kid" here -- though that, too, is a '70s remake -- but it is striking how James Gray's cop drama "We Own the Night" echoes last week's earnest "Michael Clayton" in style and substance, and transcends it in impact.
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Vikings vs. aliens -- you're either with it or not. It's a curious concept, likely greeted by one of two reactions -- either palpable intrigue or a total and utter lack of interest -- and even those intrigued know that a killer pitch can't stop a SciFi Channel level stinker from being just that (Sharks in Venice, anyone?). Well, rest assured that this version of that story, which opens in select markets today, isn't all hollow kitsch -- in fact, Outlander is probably the best possible version of whatever movie you've already made in your head from reading those first three words.
Jackson Mandrake lives life on the edge. Working as an underground magician and escapologist, his act has grown increasingly dangerous. Following a daring escape from an SUV that has been dropped out of an plane at the Burning Man Festival, he is coerced by the CIA into breaking a deep-cover agent named Xi Shing Lung out of a maximum security jail. Hypnosis, contortion, distraction and technical wizardry all come into play as Mandrake breaks the agent out from the inside within a 24-hour deadline.
Hulk represents the most involving superhero motion picture since >Superman soared skywards in 1978. By taking its time to develop characters and situations, Hulk does what so many action/adventure movies fail to do - allow us to really feel for the protagonists. Director Ang Lee, fresh off his success from Crouching Tiger, Hidden Dragon has re-imagined The Hulk as a tragic figure trapped by fate and the hubris of others into showing the inner beast whenever rage overwhelms him. In truth, the film has a greater synergy with classic monster movies like Dr. Jekyll and Mr. Hyde, Frankenstein, and (especially) King Kong than it does with the current crop of superhero motion pictures. Spider-Man or X-Men, this isn't.
Blast from the Past
In the autumn of 1998, New Line Cinema opened Pleasantville, a thoroughly delightful fantasy about a couple of modern-day kids thrown back in time to a world of wholesome family values where everything is (literally) black and white. Now, less than six months later, the same distributor has released Blast from the Past, a movie that, at least in its core idea, is an inverted version of Pleasantville. In this case, a refugee from the early-'60s culture is dumped into the late 1990s, and, just as the characters in Pleasantville changed the world around them, so too does the protagonist in Blast from the Past, albeit on a smaller scale.
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With Magnolia, director Paul Thomas Anderson has segued into the realm of the three hour movie. It's an ambitious step to take - making lengthy, ensemble movies with tangentially related and occasionally interconnected storylines can be a risky endeavor, both creatively and financially. When it works and everything snaps into focus, the rewards can be great, but when it fails, the finished product often looks worse than the mangled wreckage of a head-on car crash. Fortunately, Anderson has a deft hand when it comes to filmmaking, and this project does not tax his talent beyond the breaking point. Magnolia is a fascinating and worthwhile motion picture that manages to keep viewers interested in the plights of ten different characters for nearly its full length - right up to and through the improbable climax.
"Hamlet" meets The Jungle Book - that's what The Lion King is - adding, of course, a few special touches all its own. Disney's 32nd animated feature film is its darkest since The Black Cauldron, and, in many ways, a departure from the light-heartedness of The Little Mermaid, Beauty and the Beast, and Aladdin. There are moments of fun and humor, to be sure, but the undercurrent is of a far more serious, "adult" nature.
The Lion King is primarily about guilt and redemption. Simba, a young lion cub and heir to his father's throne, is led to believe that he was the cause of the king's death. The trauma caused by this is so great that Simba goes into exile, attempting to find peace-of-mind through anonymity in the company of a warthog and a meerkat. But it's never that easy to escape the past...
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"Something changed with this [quiz show scandal]. It really marked the end of a period of innocence in our social history. No longer did people believe that what you saw on television was the truth... It may sound peculiar to us today that a quiz show scandal could have provoked such public outrage, but it was really the first in a series of disillusionments that violated our sense of trust."
- Robert Redford, producer/director Quiz Show
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The Four Feathers
Harry Faversham (Heath Ledger), a young British officer, celebrates his engagement to the beautiful young Ethne (Kate Hudson), in a lavish ball with his fellow officers and his father in attendance. When the regimental Colonel (James Cosmo) announces that the regiment is being dispatched to Egyptian-ruled Sudan to rescue the British General Charles "Chinese" Gordon (who is being besieged in Khartoum by Islamic rebels of The Mahdi), young Faversham becomes nervous and resigns his commission. Shocked by his son's actions, Harry's father (Tim Pigott-Smith) disowns him. Perceiving his resignation as cowardice, his friends and fiancée give him four white feathers, the symbol of cowardice.
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The Haunting Hour: Don't Think About It
Cassie (Emily Osment) is a thirteen-year-old goth girl who just moved to a new neighborhood and school. She loves playing tricks on the popular kids at school, such as filling a piñata with cockroaches, and her younger brother Max (Alex Winzenread).
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John Buckingham (Ben Chaplin), a lonely St Albans bank clerk, orders a mail-order bride Nadia (Nicole Kidman) from Russia on the Internet. John is uncomfortable and shy, but Nadia is sexually bold. Though Nadia cannot speak English and John cannot speak Russian, they soon bond. Later on, a man she introduces as her cousin Yuri (Mathieu Kassovitz) and his friend Alexei (Vincent Cassel) turn up to celebrate her birthday. Alexei soon shows that he has a temper. After a violent altercation, Alexei holds Nadia hostage and demands a ransom from John. John has grown to care for Nadia, and is forced to steal from his bank where he has worked for ten years. After the ransom is paid, he realises that he has been the victim of an elaborate con. Nadia, Yuri and Alexei are criminals, and Alexei is actually Nadia's boyfriend.
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Lyon Gaultier is a deserter in the Foreign Legion arriving in the USA entirely hard up. He finds his brother between life and death and his sister-in-law without the money needed to heal her husband and to maintain her child. To earn the money needed, Gaultier decides to take part in some very dangerous clandestine fights.
Amir is a heartbreaker...literally. As a relationship termination specialist, he provides dumping services for disgruntled daters and spends his days delivering the bad news to unsuspecting lovers across Los Angeles. Though Amir claims he is just the messenger, the job makes him cynical and, as a result, the last bachelor in his group of friends. This becomes clear when his recently-engaged best friends tells him he can no longer be his Best Man because of bad relationship karma. When Amir returns to his familys home for Thanksgiving, he is reunited with his long-lost cousin, Zara, who decides to hitch a ride back to LA with him. As a joke, the two cousins pretend to be a couple in front of Amirs friends and their charade comes dangerously close to going too far.
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Little Black Book
Stacy Holt, an associate producer for a daytime talk show, is confounded by her boyfriend Dereks unwillingness to talk about his previous relationships. Egged on by her co-worker Barb, Stacy sneaks a look at his personal digital organizer, scores the names and numbers of his exes, and sets up interviews with them--all in an effort to get closer to her man. Her plan starts to unravel, however, when she becomes friends with one of the women.
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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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