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According to media reports, Blue cost between Rs 80-100 crore and is the most expensive Hindi film ever made. The crew includes two Oscar winners--composer AR Rahman and sound designer Resul Pookutty; pop star Kylie Minogue; Pete Zucarini, the underwater director of photography from Pirates of the Caribbean; and a host of stars including Akshay Kumar, Sanjay Dutt, Zayed Khan and Lara Dutta.
Many fans of Nick Park have been wondering what the animated filmmaker has been doing recently. Known to millions across the globe as the creator of the characters Wallace & Gromit (a British inventor with a penchant for Rube Goldberg devices and his smart dog), Park can no longer live in the obscurity he once enjoyed. It has been half-a-decade since the last Wallace & Gromit short reached audiences, and Park has been quiet since then. The reason can be summed up in two words: Chicken Run. An ambitious, full-length motion picture employing Park's signature clay-animation style (albeit without Wallace or Gromit), Chicken Run represents an attempt by Park to break free of his status as a cult figure and move into the mainstream. To that end, he has recruited some instantly recognizable voices (such as Miranda Richardson and Mel Gibson) to voice his characters and struck a distribution deal with Dreamworks Pictures. If Chicken Run doesn't broaden Park's audience, nothing will
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It would be fair to characterize writer/director Paul Schrader as someone who's fascinated by the seamier side of human nature. Some of his best known screenplays, including Taxi Driver and Raging Bull for Martin Scorsese, have plumbed the depths of the tortured soul. Many of his directorial efforts have stayed in the same general arena. For The Walker, a movie that borrows heavily from Schrader's own American Gigolo, the setting is arguably the most corrupt city in the United States: Washington D.C., where friendships exist only as long as they are mutually advantageous. When politics and Schrader's life-view collide, the result is guaranteed not to be uplifting or life-affirming. The Walker confirms our mistrust of politicians, hinting that even cynics may be naïve.
Love in tennis doesn't have to be bad, as Richard Loncraine's Wimbledon shows. A formulaic motion picture that delights in spite of (or perhaps because of?) its reliance upon conventions, Wimbledon is the kind of movie that allows the non-cynical movie-goer to sit back and relax in the presence of actors who work well with each other and a script whose familiarity is an asset. It's rare for any motion picture to successfully combine the clichés of the sports and romance genres, while keeping a balance between them. In recent years, I can name only two: For Love of the Game and The Cutting Edge. To that select group, Wimbledon can be added.
As remakes go, The Manchurian Candidate is better than most. It remains faithful to the premise and themes of the original, but, by avoiding a slavish re-interpretation, it offers some surprises to those who are familiar with the 1962 version. Yet there's still a problem, and it has to do with the ending. 42 years ago, The Manchurian Candidate capped off a Hitchcockian climax with a grim-but-reasonable conclusion. Here, the climax is just as taut, and the payoff is equally tragic, but it's immediately followed by a cheat. (If you see the movie, you'll immediately recognize what I'm carefully avoiding stating explicitly.) There's a falseness to the denouement of Jonathan Demme's The Manchurian Candidate that diminishes everything that has gone before it. It wouldn't surprise me to learn that the reactions of focus groups compelled Demme to re-shoot the last few moments. The result, regardless of how it was arrived at, is gutless. Let's hope no one tries to remake Chinatown with the same mentality.
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Scary Movie 3
When the filmmakers started out two films ago, the Scary Movies were funny. Since then, it has been a rapid decline through mediocrity into near-unwatchability. Absent for this third installment are the Wayans Brothers, who are replaced by David Zucker and his scribe-for-hire, Pat Proft. If there's one thing this motion picture proves, it's that The Naked Gun 33 1/3 wasn't the final insult from a founding ZAZ (Zucker/Abrams/Zucker) member; this is.
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Despite dismal box office results across-the-board, the major movie studios have yet to figure out that the American public is not interested in preachy movies about the war in Iraq. Filmmakers interested in producing compelling dramatic films about the Iraq conflict should look to the Vietnam war oeuvre, which contains many superior motion pictures. Unfortunately, what we have been immersed in thus far with the Iraq-based war stories tends to be simplistic and uninteresting. The underlying premise goes something like this: War is hell, the U.S. government is deceitful, and soldiers are being irrevocably damaged. Whether I or any other viewer agrees with this is not the point. It's the job of the filmmakers to present these themes in an intelligent, dramatically potent manner. With Stop-Loss, Kimberly Peirce is no more effective than the others (including Robert Redford, Brian De Palma, Gavin Hood, and Paul Haggis, among others) who have preceded her down this road. In her zeal to wave the flag of protest, she has lost sight of her characters and the reality of their situation. After a strong start, Stop-Loss becomes driven by a series of contrivances before falling prey to bad melodrama and even a little cheesiness.
It opens with images of a late-night poker game: cards, chips, sweaty palms, concerned faces, and a woman's fingernails. Then, as night turns to day, the camera moves into the streets of New York, and, with the first bit of dialogue, we know we've slipped into the world of David Mamet. No one else writes lines quite like him: profane, staccato, and ending when you think there's more coming. This isn't just a Mamet-scripted movie, either. It's a Mamet-scripted movie based on a Mamet play. Like Glengarry Glen Ross and Oleanna, it's clear that American Buffalo started life on the stage.
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There's no doubt that the subject matter tackled by Arlington Road is topical. Terrorism at home is a very real danger in this current climate of world uncertainty, and, arguably, a greater danger is posed to U.S. security by radical political groups within this country than by outside forces. By borrowing heavily from the images and events surrounding the Oklahoma City tragedy, Arlington Road postulates that there might be a huge underground conspiracy driving this sort of activity, and, if it isn't stopped, history will repeat itself. As long as there's a patsy to take the fall, there's no motivation to dig deeper.
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My Favorite Season
Despite having taken three years to make the trip across the Atlantic, Andre Techine's My Favorite Season is surely one of the best films of the summer, if not the year. After its release in France, My Favorite Season was unable to acquire an American distributor; however, following the modest art-house success of the director's subsequent effort, Wild Reeds, the door was opened for the movie's U.S. showing. For those who enjoy rich, complex character dramas, the arrival of My Favorite Season is a cause for celebration.
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See No Evil
A ragtag group of juvenile delinquents assigned the task of cleaning up an abandoned hotel find out just how deadly community service can be when they are stalked by a monstrous, four-hundred-pound maniac with a grudge in director Gregory Dark's wrestling-infused survival horror flick. It was a mere four years ago that seven-foot menace Jacob Goodnight (WWE superstar Kane) was shot in the head and left for dead by a local police officer.
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The Lost City
Fico Fellove (Andy García) is the owner of El Tropico, a swank nightclub in late 1950s Havana. Fico lives for his family and his music, but the harsh realities of dictator Batista’s regime threaten to destroy both. Brother Ricardo (Enrique Murciano) becomes a Communist while brother Luis (Nestor Carbonell) joins the democratic opposition. His father Federico (Tomas Milian), a well-respected university professor, believes that Batista should be replaced by constitutional means.
When Ricardo is arrested for anti-regime activities and threatened with execution, Fico calls upon an old prep school friend, now a police captain (Captain Castel, played by Steven Bauer), for help. Due to the intercession of Captain Castel, Ricardo is released from jail. Although Fico suggests that Ricardo should go to Miami or
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I Can Make You Love Me aka Stalking Laura
Laura Black has got it. She has got her master in computer science and she has got that great job in Silicon Valley. Time to say bye bye to mom and dad and to leave Virginia. Everything seems to be fine with one exception. That guy Richard Farley at her new job. If he would stop his attempts to date her. Since weeks his psycho terror is going on now. Laura decides not to let him win. She does not want to be his victim. May be an official complaint about Farley would solve her problem?
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Jackass: The Movie
Johnny Knoxville and his crazy friends appear on the big screen for the very first time in Jackass The Movie. They wander around Japan in panda outfits, wreak havoc on a once civilized golf court, they even do stunts involving LIVE alligators, and so on. While Johnny Knoxvile and his pals put their life at risk, they are entertaining people at the same time. Get ready for Jackass The Movie!!
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Ollie Trinkie is a publicist, who has a great girlfriend, Gertrude, whom he marries and they are expecting a baby but while he is looking forward to being a father, he doesnt lighten his workload. Gertrude gives birth but dies in the process. Ollie doesnt live up to his responsibilities as a father. Eventually the strain and pressure of losing his wife and being a father gets to him and he has breakdown, which leads to his termination. So with nothing much to do he tries to be good father to his daughter, Gertie. He also meets a young woman name Maya, who likes him but he is still not over his wife.
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Shy and awkward 15-year-old Merseyside teenager Nicole (Kerrie Hayes) nurtures a lonely crush on fictional Liverpool Fc footballer Lee Cassidy. Waiting to catch a glimpse of him at the stadium gates