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Night of the Living Jews
I know absolutely zilch about the Jewish religion. I know they have the little hats and the curly sideburns. Thatís where my knowledge ends. Call me ignorant, but thatís just Ė okay yeah, Iím ignorant. Now since Night of the Living Dead came out some 40 years ago, there have been a million knockoffs on the title. Night of the Living Dorks (review), Night of the Living Bread, Flight of the Living Dead (review), and my personal favorite, Night of the Giving Head. Night of the Living Jews doesnít exactly fit the naming scheme by being overly clever or witty, but it does give you a pretty good idea what the movie is going to be about. When sorting through the
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The Mummy: Tomb of the Dragon Emperor
I haven't seen the previous two movies in the Mummy series, although people have recommended them to me as rollicking old-fashioned action-adventure movies, from the same Saturday-afternoon-matinee roots as the Indiana Jones series -- not exactly brain teasers, but good silly fun. The good news is that if you too haven't seen the preceding movies, you can watch The Mummy: Tomb of the Dragon Emperor without fear of getting confused or lost or not understanding the recurring characters. The bad news is that regardless of whether you've watched the other films, the third Mummy entry is a headache-inducing mess that piles on unimpressive special effects to stretch a slight and often incomprehensible storyline.
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Based on Brian Selznick's captivating and imaginative New York Times bestseller "The Invention of Hugo Cabret." "Hugo Cabret," Scorsese's first film shot in 3D, tells the tale of an orphan boy living a secret life in the walls of a Paris train station. When Hugo encounters a broken machine, an eccentric girl, and the cold, reserved man who runs the toy shop, he is caught up in a magical, mysterious adventure that could put all...
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In 1976, the year of the American bicentennial, the tall ships sailed from Europe to America and back again. But a smaller event was, in its way, no less impressive. In a blind taste-testing held in France, the wines of Californiaís Napa Valley defeated the best the French had to offer ó and all the judges were French! A bottle of the winning American vintage, it is said, now rests on exhibit in the Smithsonian Institution.
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Donnie Darko, the debut feature from writer/director Richard Kelly, is part psychological thriller and part science fiction mystery. The title character (Jake Gyllenhaal), a teenager in his last year of high school, is suffering from all manner of delusions and hallucinations. He sees and does the bidding of a six-foot high rabbit wearing an insect mask, and, at times, appears completely dissociated form his surroundings. He is visiting a therapist and taking medication, but neither solution is working. Donnie is getting worse, but is it because he's descending deeper into a web of mental instability or because he's really seeing and experiencing these things? These are questions that the movie leaves unanswered until the end.
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The dream is reaching America. The nightmare is undertaking the journey to get there. But you know your current circumstances aren't too promising when New Jersey is represented as a paradise. Writer/director Cary Fukunaga's film is about illegal immigration only on the surface, and almost none of its running time transpires within the boundaries of the United States. Instead, it's about the factors that cause some individuals to risk incarceration, deportation, and even death for a chance to cross the border and escape cycles of poverty, disempowerment, and gang violence.
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All Over Me
Welcome to Hell's Kitchen: a part of New York City that's not on many visitors' tour maps. Hell's Kitchen the quintessential inner city: no one has any money, crime is rampant, and everyone dreams of getting out. It makes a great backdrop for a motion picture, provided that you want your story to be set against a world of poverty, violence, and drug abuse. Since that's precisely what first-time film makers Alex and Sylvia Sichel were after, Hell's Kitchen is the perfect setting for their debut, All Over Me.
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It's almost a shame that A Bug's Life is debuting so close in the wake of Antz (although, to be fair, the latter film was the first to enter production). No matter when the Pixar/Disney production reached theaters, comparisons between the two computer-animated insect movies would be inevitable, but, with only seven weeks separating their openings, those comparisons will be more intense. Fortunately, A Bug's Life can withstand the scrutiny. Despite a number of similarities to Antz, there are enough variations in plot and tone to warrant another visit to the unique and wondrous world existing beneath the blades of grass.
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IN ''The Exterminator,'' which opened yesterday at the National and other theaters, the title character metes out rough justice to loathsome characters. He ties up the gang punks who crippled his Vietnam buddy in an abandoned tenement for the rats to eat. A Mafia don who preys on the wholesale meat trade is lowered slowly into a jumbo hamburger grinder. A procurer of young boys for homosexuals is soaked with lighter fluid and set afire.
You've seen the good man taking the law into his own hands before. Charles Bronson did it in ''Death Wish'' and Clint Eastwood did it in ''Dirty Harry.'' Those films look like high art in comparison with this one. Even connoisseurs of violence will be disappointed in ''The Exterminator'' since its grisly events are not actually shown on screen.
The leading performers - Robert Ginty in the title role, Christopher George as a detective and Samantha Eggar as a physician - are undone by the screenplay and direction of a beginner named James Glickenhaus and by lighting, camera work and sound that would rate an ''F'' at film school.
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Struck by lightning, an endearing little robot known only as "Number 5" escapes from an experimental electronics firm. Technician Newton Crosby (Steve Guttenberg) and his indecipherable East Indian assistant, Ben Jabituya (Fisher Stevens), set out to locate Number 5 before the military can go through with its plans to destroy the robot. Number 5 takes refuge with loopy Stephanie Speck (Ally Sheedy),
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Randy Rides Alone
In perhaps the most haunting opening of any B-Western, Randy Rides Alone has John Wayne enter a deserted saloon filled with corpses. To the tinny strains of a player-piano and with someone eerily peeking from behind a portrait of Ulysses S. Grant, Wayne's reconnaissance ends with his arrest for murder.
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Pier Paulo Pasolini continues his homoerotic explorations on the screen by taking his sexual slant into the Arabian Nights. Hungry lovers lurk behind every palm tree and the parched desert thirsts are satisfied only between the silken sheets of lustful tales of the night.
While it seems like all the tales will be interconnected at the beginning, the script seems to wander in the desert, losing its way. One tale involves a slave girl who slips a young man the money to buy her at auction so they can enjoy carnal bliss. After a pointed warning from her, he sells a shawl in the market to a blue-eyed man, which results in her abduction and sends him on a lackluster search to recover his lost love. In another tale a bridegroom abandons his wife to be on the eve of their wedding for another mysterious woman. His betrayal can only come back to haunt him. Several other stories weave together the fabric of Pasoliniís vision. With a running time of 131 minutes, the film unfolds rather slowly despite the multiple stories.
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Tarzan and the Lost City
This is the kind of movie that makes one appreciate Disney's live-action George of the Jungle. Tarzan and the Lost City, the latest attempt to bring Edgar Rice Burrough's legendary hero to the big screen, is one of the most inept and ill-timed of any Tarzan adventure so far. Badly conceived and poorly executed, Tarzan and the Lost City appears headed for a quick trip to video store shelves. I have no idea why the producers chose now to bring back Tarzan; it's not as if there are legions of new fans clamoring for his next movie. Furthermore, it's even more curious that this film is rated PG, which, by definition, rules out any sex or explicit violence. And, while I'm not advocating the excesses embraced by the 1981 Bo Derek version of the story, Tarzan deserves a slightly more adult approach than the one used in the embarrassing production.
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City of Rott
The story begins after the Earth's water supply has been infected by a strange parasite known as Rot Worms. Rot Worm eggs were delivered by rain, and there's no place on the planet that is free from the Rot Worms. Once hatched, they begin feasting on human flesh, turning their hosts into mindless zombies.
The film revolves around Fred, an elderly man with a walker, which he uses as a weapon, and searching for a pair of new shoes. Fred appears to be losing his mind, he believes his walker speaks to him and he constantly sees hallucinations.
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Farm Girl in New York
Repeatedly shot down in flames after arriving in the Big Apple and working tirelessly to score with the sophisticated urban girls, Midwestern yokels Sam and Matt surmise that the best way to get a date is to hold an audition. Later, as the unsuspecting applicants do their best to impress, the would-be playboys find themselves drawn to a ravishing farm girl who lacks the pretention and cynicism of her big-city counterparts.
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American Bandits: Frank and Jesse James
After Jesse James is wounded by a bullet to the chest, Frank James splits the gang up and plans a rendezvous in four days time. With U.S.-Marshall Kane in hot pursuit, and betrayal within the outlaw band, the stage is set for a blazing and climactic shootout in the deserted town of Gila Wells.
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