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Mutants is one of latest batch of French horror films that fell prey to the hype. It's not a bad film, by far, but it simply cannot stand up to the high standards that have been set by some of its predecessors. As soon as you can accept that, there's actually plenty to enjoy here. If you don't mind "not-actually" zombies that is.
These last couple of years we've been spoiled by the French horror scene. It all started with Haute Tension, followed by a solid body of work containing Ils, A l'Intérieure, Frontière(s) and Martyrs. It was almost impossible for the new batch to live up to the expectations, so it shouldn't come as a surprise that in the end they didn't. Proof is found in the rather long waiting time for their actual releases. Lukewarm receptions at film fests and the local market have been hindering international availability.
The Dark Lurking
That statement may well be true, but The Dark Lurking takes place underground. Beats me what they were thinking, but that's just one of many confusing aspects of this slapdash sci-fi/horror entry. It is a conglomeration of imagery co-opted from better films and one of the most poorly written scripts I've seen in a long while.
Outpost 320, located deep under the surface of an unnamed planet, is a scientific bunker that performs mysterious experiments on human subjects. Something has gone drastically wrong, and bizarre monsters have emerged to massacre most of the people inside. The government has locked the place down and the survivors, along with a rescue team sent down to investigate, must maneuver through level after level of mayhem to have a chance at escape.
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Super (2010) Movie
I must admit that I approached writer/director James Gunn’s quirky action/comedy “Super” with much trepidation. You see, I’m of the belief that Hal Haberman and Jeremy Passmore’s disturbingly underrated gem “Special” is the end-all, be-all of peculiar, off-beat superhero flicks. It’s a near-perfect blend of action, comedy, and dramatic depth, a mixture that others have attempted to replicate yet failed to achieve. James Gunn comes dangerously close to obtaining this goal, and while he just falls short of the mark, “Super” will definitely have its own unique space in any discerning cult cinema fan’s film collection. Assuming, of course, that you have a high tolerance for Gunn’s style of shock humor. If you don’t, I completely understand. It takes some getting used to.
That having been said, it’s worth stating that “Super” is definitely not for everyone. Gunn pulls absolutely no punches here, stuffing his deranged superhero epic with a wide variety of offensive, expletive-laden rants and subversive, gore-soaked sight gags. Although the veteran director’s penchant for blood, guts, and religious jabs may fool you, Gunn understands that this sort of abrasive, graphically violent comedy requires a heart in order to function properly on-screen. Much to my surprise, this is the area where “Super” shines the brightest. You genuinely want our hero to rescue his estranged wife, wipe out the local drug syndicate, and ride off into the sunset. Instead of being obnoxious, this wannabe do-gooder is extremely easy to identify with.
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Capote tells two stories, presenting both without hiccups. The first is an exposé of how the title author's In Cold Blood was written. The second shows the emotional and psychic dissolution of the man who starts out the film as a brilliant eccentric and finishes it as a basket case.
Five minutes into The Wedding Planner, I suspected the film was in trouble. Ten minutes later, I knew it was in trouble. There's only one thing that can sink a movie so fast - bad writing. Even excruciating acting takes longer. Romantic comedies shouldn't be difficult to make, since all but the very best of them follow a tried-and-true formula. All that is required is to get a pair of likable, attractive leads and plop them down in the midst of a narrative that allows them to generate some romantic friction before being split apart by complications then brought back together at the end. Yet, despite having a clear roadmap to use for navigation, director Adam Shankman and his co-conspirators, screenwriters Pamela Falk & Michael Ellis, manage to screw things up. The end result is occasionally so inept and embarrassing that it's almost physically painful to sit through.
On the surface, the selection of actress/singer Jennifer Lopez and one-time heartthrob Matthew McConaughey seems to be good casting. In the past, both have had some success with romantic pairings (Lopez opposite George Clooney in the steamy thriller Out of Sight and McConaughey opposite Jenna Elfman in EdTV), so it's reasonable to expect them to strike a few sparks. Unfortunately, although Lopez is competent, McConaughey looks lost. A city slicker with two sticks would have a better chance of generating heat than these two. The chemistry so crucial to the success of any screen romance is absent. But the central flaw isn't the actors, or even the film's generic premise - it's the script. The Wedding Planner is a perfect example of what happens when the appeal of the two leads cannot overcome the obstacle presented by an irredeemably stupid screenplay.
Mary Fiore (Lopez) is one of the best wedding planners in the state of California. Whenever anyone needs to arrange a lavish wedding, they come to her. Despite her profession, however, she leads an unromantic life, using the motto, "those who can't wed, plan". Things change for her one afternoon when she is saved from being stuck by a runaway garbage dumpster by a handsome doctor named Steve Edison (McConaughey). The two spend a romantic evening together and Mary thinks she may have found Mr. Right - until Steve turns out to be the fiancé of her latest client, Fran Donolly (Bridgette Wilson-Sampras). But, as the planning of the wedding becomes more involved, Mary and Steve's attraction represents a growing impediment.
When I watch a romantic comedy, I do not demand a great deal in the way of originality or inventiveness. This is, after all, a highly derivative genre in which the unexpected is often frowned upon. Romantic tension, not narrative tension, should be the director's goal. However, I do require that the primary characteristics of the characters not be evidence of frontal lobotomies. Throughout The Wedding Planner, people consistently do and say stupid things. It's an epidemic, and no one is spared the ruthless butchering of the screenwriters' witless pens. So Jennifer Lopez gets to crawl around on her knees to avoid an old flame and Matthew McConaughey if offered the opportunity to see what it's like to have a statue's stone genitals crazy glued to his hand. Can comedy get any funnier than that? Meanwhile, the dialogue features more platitudes than can be found in a rack of Hallmark greeting cards. When characters are this dumb, it's impossible to care about their fates; consequently, we have no investment in Mary and Steve's eventual and inevitable union.
Typically, no matter how uninspired a romantic comedy may be, it has the capacity to generate a moment's bliss when the two lovers finally set aside their differences and come together. Not here, though. The Wedding Planner can't even offer such a basic payoff, and that makes the chore of watching it completely thankless. Even the superficial pleasure of gazing at Lopez and McConaughey can't justify this film's existence.
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During the Spring of 1990, I remember being transfixed in front of the television set for an hour each Sunday night over a period of five weeks. The occasion was the "Masterpiece Theater" presentation of the British mini-series "Traffik", a complex narrative that explored the lifecycle of heroin - from its origins as opium in the fields of poor Pakistani farmers to its distribution across Europe and its use on the streets of England. Powerfully scripted and flawlessly acted, "Traffik" remains to date one of the most memorable programs ever to air on the venerable PBS showcase of British drama. Now, more than a decade after "Traffik" was produced, American director Steven Soderbergh and screenwriter Stephen Gagen have chosen to re-invent the mini-series as a theatrical motion picture. The result is a thematically faithful (albeit truncated) version that retains much of the strength and impact of the original.
If one was to make a list of the best baseball-themed movies of all time, Bull Durham would have to be in consideration. Alongside the likes of The Natural and Field of Dreams, it remains one of the best-loved hardball titles. Filmmakers like the diamond and its surroundings as a motion picture setting because of the game's mystique and flexibility. It can be used as an opportunity to plumb the depths of nostalgia, as in The Natural, or as a metaphor for ideas like redemption and renewal. The goal in Bull Durham is a little different: verisimilitude. This is about showing what it's like for athletes who play for the love of the game and not the expectation of multi-million dollar contracts. It's about the men who toil far from the spotlight and whose daily concern is not whether they will be promoted to The Show but whether their stats will allow them to bat another day.
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At dinner, Janes husband collapses and dies, poisoned. She barely maintains consciousness as police and FBI arrive surrounding her house. She escapes and must try to find her would-be killers before they find her. Jane is a contract killer for the CIA with a non-official cover (a NOC). She quickly discovers discrepancies that lead her to believe shes a loose end in a rogue CIA operation. She heads for Trinidad, enlists the help of a tourist (at gunpoint), and enters a bank. Meanwhile, CIA operatives are on her trail, other government figures are involved, and a shadowy West Indian is following her too. Is there any way out?
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Revenge of the Boarding School Dropouts
Now that their snowboarding school is a hit and their team is winning big, Eddy and Max enjoy success to the fullest. But with their hard-partying lifestyle, the dynamic duo might just be heading for a wipeout. If they dont want to lose everything theyve worked for, our heroes must valiantly battle the temptations of slackerdom and get their team back on track in this cool comedy starring Tom Green and Dave England.
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Christmas with the Kranks
After Luther (Tim Allen) and Nora Krank (Jamie Lee Curtis) see their daughter, Blair (Julie Gonzalo) depart for a Peace Corps assignment in Peru on the Sunday following Thanksgiving, empty nest syndrome sets in. Luther calculates the couple spent $6,132 during the previous year's holiday season and, not looking forward to celebrating Christmas without their daughter, he suggests they invest the money usually spent on decorations, gifts, and entertainment and treat themselves to a ten-day Caribbean cruise instead. Skeptical at first, Nora finally agrees.
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Alan and Wendy Barnet, a quiet, upper-middle-class yuppie couple, are stuck in rut romantically. After some soul-searching, they decide to spice up their sex life by placing an ad in a swingers magazine. From among the many replies they receive, they arrange a date with Jack and Louise Bauer, a young couple who seem similar to the Barnets. After a very enoyable evening of spouse-swapping, the Barnets feel theyve broken out of their rut and are ready to return to a life of monogamy. The Bauers, unfortunately, arent quite so ready to let go.
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Knights of Bloodsteel
Introduced in the film world, depends on the rare metal known as steel blood. These elements are the source of all magical energy, but soon it will end. Tesselink hires ordinary people - John Perfidu, goblin Behr paint touch-and force the young rogue Adrika. Together, they will be knights of the steel of blood, and their main task will be to find the mythical Crucible - the source of the steel of blood. The team will face the army of evil forces, led by the ruthless and powerful Eye of the Dragon. Who first finds the Crucible, he will have unlimited power.
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When Saturday Comes
Jimmy Muir is a hard-drinking brewery worker in the city of Sheffield, with an arrogant lack of respect for authority. His entire life has been orientated by football and he possesses the potential, but has never had the courage or discipline to make anything of it. Jimmy is spotted by Ken Jackson, whilst playing for his pub team. Ken is the manager of Hallam football club, a local non-league team. After continually playing brilliantly for Hallam, Jimmy gets offered a trial at Sheffield United. The evening before the trial he gets drunk, and wakes up feeling very rough. Consequently he fails to impress the Sheffield United manager. Jimmy then has to consider his future and his choices and if he has the self discipline to succeed!
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Beautiful girls are dying at the hands of a deranged masked killer. Every kill is more brutal than the last. Worst of all, its happening live on camera.
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Lady in the Water
The super Cleveland Heep finds a woman swimming in the swimming pool of the condominium during the night he slips, hits his head on the floor and faints in the water, and she rescues him. He discloses that she is a Narf called Story, a character of bedtime stories, that is chased by a Scrunt and she needs to return to her Blue World with an eagle. Cleveland convinces the tenants to help and protect Story.
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