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The Chronicles of Narnia: Prince Caspian
Here in the unenchanted world of ordinary moviegoing, it has been about two and a half years since “The Lion, the Witch and the Wardrobe,” the first installment in Walt Disney and Walden Media’s mighty “Chronicles of Narnia” franchise. In wartime England, where the Pevensie children live when they’re not consorting with talking lions and battling witches, a year or so has gone by. But in Narnia itself, to which the four plucky Pevensies return in “Prince Caspian,” the second movie in the series, centuries have passed, and everything has changed. The grand hall where Peter, Susan, Edmund and Lucy were made monarchs of the realm has fallen into ruin, and the friendly woodland creatures with their homey British accents and computer-animated fur seem to have vanished from the scene.
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The Longest Day
For those of you that haven’t shared in this special piece of Hollywood, you’re in for a treat. This film hasn’t only been re-released on special edition videodisc (with features that are something to truly marvel at) but features among the largest casts of greats that I do not think accepts always been agreed. This 1962 classic bids some history-based events (admitting paratroopers being massacred by Nazis as they enter into a dropping zone) that truly stoke the fire as vengeance. Fear not, folks. The Longest Day allows you on vengeance and so some.
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Allie Pennington (Britt Robertson) is transferred to a new school (Avalon High) where she discovers that her new classmates are reincarnations of King Arthur and his court. Now her mission is to solve the school's mystery before Mordred wins again. Allie also meets the high school football quarterback, Will Wagner (Gregg Sulkin) who brings the Arthurian legend alive at a contemporary high school. Allie believes that Will is King Arthur and that a mean classmate Marco is Mordred, but it turns out that Marco is another Knight while Mr. Moore, one of her teachers is Mordred.
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It's safe to say that, as a director, Clint Eastwood shows no fear. Only a few years beyond telling the story of Iwo Jima from the Japanese point-of-view, Eastwood ventures down another little traveled cinematic avenue by making what is essentially a "French movie" (at least in terms of narrative approach and pacing) using American money and featuring a mostly English-speaking cast. And, although the movie is imperfect and unlikely to achieve anything close to mainstream acceptance, its refusal to court box office success exhibits a nobility of purpose. Additionally, it arrives without a hint of the sanctimoniousness that accompanied the release of Eastwood's preachy parable of racial unity, Invictus.
Just when it was starting to look like the concept of a "funny comedy" has gone out of vogue, along comes Pineapple Express and its cinematic cousin, Tropic Thunder. The latter film, which has emerged from the warped mind of Ben Stiller, is a little nastier than the former, but no less hilarious. With a cast that many movies would die for, Tropic Thunder takes no prisoners. It treks into taboo areas and emerges mostly unscathed. The film isn't perfect - it's a little too long and some scenes aren't as funny as the filmmakers think they are - but in an environment where things like The Love Guru and Step Brothers pass for worthwhile entertainment, Tropic Thunder puts a lot of comedy pretenders to shame.
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Lilya 4-Ever is the third film from Swedish filmmaker Lukas Moodysson, but, in terms of both tone and content, this effort is so different from the director's other work that it's difficult to credit that all three are the product of one man. (This should be seen as a credit to Moodysson's versatility.) Show Me Love, a poignant drama about a teen girl's coming of age, and Together, about life in a '70s commune, introduced Moodysson to the international film-going community, and showed him to be a craftsman of some talent - an accomplished cinematic storyteller whose skill behind a camera belies his relative inexperience. Lilya 4-Ever not only advances Moodysson's reputation, but represents one of the most formidable and uncompromising motion pictures of this young decade. Put it in the same category as The War Zone and The Sweet Hereafter - movies about intimate tragedies whose impact wrenches both the heart and the mind. Light entertainment, this is not. Unforgettable and challenging cinema, it is.
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To animators across the world, Hayao Miyazaki is a god. Within the animation community, his work is revered, and fans of “anime” (Japanese animation) await each new Miyazaki film with the same degree of ill-concealed impatience as displayed by 11-year olds hungering for the next book in the “Harry Potter” series. In mainstream United States movie-going circles, Miyazaki is not a well-known name, which is one reason why, several years ago, Walt Disney Pictures purchased the North American rights to Miyazaki’s catalog. While there were some gripes about the manner in which the dubbing and distribution of Miyazaki’s previous feature, Princess Mononoke, were handled here, more care has been taken for Spirited Away. Two American animation luminaries – Pixar’s John Lasseter and Disney’s Kirk Wise (the director of several animated features, including Beauty and the Beast) – were recruited to convert the Japanese version of the movie into one for English-speaking audiences.
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Ice Age: Dawn of the Dinosaurs
With each release, Pixar explores new themes and ideas. Meanwhile, animation studios like Fox retread tired "franchises" like Ice Age. Never representative of more than mediocrity from a technical or story-based standpoint, the Ice Age series has reached a new nadir with its third entry. Rather than adding an extra dimension to the entertainment, the decision to release Dawn of the Dinosaurs in 3D merely gives the animators an opportunity to be more slipshod in their design and execution. For the most part, the movie plays out like a demo for the video game, careening from one improbable action sequence to the next. I can see how the challenge of mastering some of these puzzles might be fun in an interactive forum, but they're deadly dull in a movie.
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Blair Witch Project
"In October of 1994, three student filmmakers disappeared in the woods near Burkittsville, Maryland while shooting a documentary. A year later their footage was found." With this ominous pronouncement on a title card, The Blair Witch Project begins. It's an effective and startling hook to open a film, and the product that follows delivers on the promise of this unusual premise. The Blair Witch Project caused a major stir with Sundance, and for good reason - it was perhaps the most offbeat, energetic, and eye-opening motion picture to screen there. Word-of-mouth was so strong that a special screening had to be scheduled in the 1300-seat Eccles theater, and it was packed.
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Miracle on 34th Street
Yes, Virginia, there is a Santa Claus.
Every year around the Christmas season, it seems impossible to turn on the television without seeing either George Seaton's Miracle on 34th Street or Frank Capra's It's a Wonderful Life. Like Handel's "Messiah", evergreen trees, red suits, and the seemingly-endless barrage of carols, these films have become indicative of the time of year. Considering the wide availability of Miracle on 34th Street, it's curious why Home Alone's John Hughes targeted the movie for a remake. This isn't some obscure title gathering dust on video store shelves. Writer/producer Hughes and his director Les Mayfield have taken an audacious - and some would argue ill-advised - step in remaking such a highly-visible and often-rerun motion picture. (There was also a 1973 made-for-TV version that I know little about.) The result is similar to the case of Warren Beatty's recent Love Affair. While certainly enjoyable, the film doesn't attain the level of its predecessor, and there aren't enough changes to infuse this movie with a sense of freshness or originality. The touches added to modernize the story are mostly minor (like Kriss Kringle appearing on Good Morning America) and often ineffective.
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King of the Hill
During the Great Depression in Saint Louis, Aaron Kurlander's (Jesse Bradford) family is falling apart. His little brother has been shipped off to live with an uncle, his sick mother (Lisa Eichhorn) has been admitted to a sanitarium, and his father (Jeroen Krabbe) must go on the road to make money. So Aaron is left on his own in a fleabag hotel, with no money and few friends. Life becomes a struggle for the twelve year old -- the hotel wants to evict him and his meager supply of food is running dangerously low -- and it's only through his remarkable resourcefulness that he manages to survive.
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Mike Leigh has always been known as a creator of exceptional, insightful character studies. Often, his films do little more than trace activities in the life of a person or persons over a several-day period. However, whereas comedies such as Life is Sweet and High Hopes showed Leigh's whimsical side, Naked is anything but charming. This movie is brutal and raw, and its sense of humor comes with a serrated edge.
40 Days and 40 Nights
Matt Sullivan (Josh Hartnett) and his roommate, Ryan (Paulo Costanzo), are co-workers at a the San Francisco dot-com company. Matt is obsessed with his ex-girlfriend, Nicole (Vinessa Shaw), who has just gotten engaged. He confides to his brother, John (Adam Trese), who is training to become a Catholic priest, that he has sexual problems because of his obsession. Matt vows to go without sex for 40 days and 40 nights for Lent. John warns Matt that celibacy is not easy, and Ryan starts a popular office pool to bet on how long Matt can last.
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Kevin & Perry Go Large
Best friends Kevin and Perry decide they need to lose their virginity and become "top DJs", and plan to go to Ibiza to do so. They receive a reward for accidentally foiling a bank raid, and with Kevin's parents agreeing on the condition that they accompany them, they go to Ibiza.
Once in Ibiza, they meet the world famous DJ Eyeball Paul (whose nickname derives from his practice of vodka eyeballing), who takes every opportunity to patronise and insult them - of which they seem to be blissfully ignorant, describing him repeatedly as "such a nice bloke" and "a rinsing geezer". Kevin and Perry persuade Eyeball Paul to play a song they have created at his next performance, but only after they carry out several chores for him, including cleaning his kitchen floor and unblocking his toilet by hand.
Throughout their stay in Ibiza, Kevin and Perry set their sights on "the girls of their dreams", Candice and Gemma, whom Kevin and Perry try and chat up with put-on posh accents. The teenagers experience several bizarre mishaps which set back their pursuit of Candice and Gemma, including being vomited on from a height and crashing mopeds, and their friendship is strained when Perry films Kevin's parents while they are having sex.
The film ends with Kevin and Perry losing their virginity to Candice and Gemma respectively. When back at home, the boys are seen signing copies of their record in a music store, whilst Kevin's parents are seen signing copies of a video they have made about better mid-marriage sex.
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Day of the Panther
A martial-arts expert goes after a criminal gang and its boss, who were responsible for the death of his partner.
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Larry Burrows is unhappy and feels powerless over his life. He believes his entire life could have turned out differently had he not missed that shot in a baseball game when was a kid. One night he meets this mysterious man, who could change his fate by offering him that alternative life he always dreamed of. But as Burrows embarks on this journey of self discovery he realises that even this new life has its problems and drawbacks..
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