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Despicable Me falls somewhere in the middle range of animated films targeted at kids, featuring none of the delirious wit of How to Train Your Dragon and Cloudy With a Chance of Meatballs and certainly not the outright Pixar genius, but also absent the mindless pandering and obvious plotting we all fear in children's films. With a smart concept, some clever gags and well-choreographed action it moves along nicely, but it also squanders considerable voice talent and doesn't really take advantage of the twisted world it successfully creates. You get the feeling that a darker and more clever Despicable Me may have existed at some point before the studio, still trying to break into the animated market, defaulted to the safe side.
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Direktøren for det Hele
The Boss of It All (Direktøren for det hele) is a straight up comedy from Lars von Trier, or so we're led to believe. In fact it is actually pretty much that, but hidden within are plenty of messages about the human condition and a few interesting japes at actors, companies and how the operate.
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Tristan & Isolde
After the recent film debacle that was King Arthur I must admit that the idea of another ancient Britain legend movie had me wary. Hollywood’s ability to take a perfectly good story and completely foul it up has never ceased to amaze me and I expected nothing less from Tristan and Isolde. Consider me somewhat pleasantly surprised.
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The Lost Bladesman
With so many Chinese historical epics continuing to clutter up the box office, films are having to offer something increasingly special in order to stand out from the stampeding herd. “The Lost Bladesman” does just that, being based on the legendary historical “Romance of the Three Kingdoms” figure Guan Yu and starring the one and only Donnie Yen, a combination which has translated into massive success at the domestic box office. With Yen unsurprisingly handling the action choreography as well as taking the lead role, the film was directed by duo Alan Mak (“Infernal Affairs”) and Felix Chong (“Once a Gangster”), who also worked together on the popular thriller “Overheard”, and has an illustrious supporting cast, including acclaimed Mainland actor and director Jiang Wen (who recently helmed the excellent “Let the Bullets Fly” and the powerful “The Sun Also Rises”), Betty Sun (“Just Another Pandora’s Box”), Andy On (“True Legend”) and Chin Siu Ho (“Revenge: A Love Story”).
The film begins with Guan Yu, then a general in Liu Bei’s army, having been taken prisoner by prime minister and power behind the throne Cao Cao (Jiang Wen), who urges him to switch sides. Desperate to bring an end to the fighting, and with Cao Cao holding his beloved Qilan (Betty Sun) hostage, Guan Yu agrees to lend his enemy his mighty skills during a key battle. With this done, Cao Cao apparently grants him leave to return to Liu Bei with Qilan, and Guan Yu sets off on the long journey home, hoping to put the fighting behind him. Unfortunately, Cao Cao’s generals believe that in doing so they are unleashing a tiger, and make plans to have him killed.
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Girl on the Train
Director Andre Téchiné (My Favorite Season, Wild Reeds, Thieves, Alice and Martin) has never been shy about confronting difficult subjects in his films, as one glance at his loaded résumé will reveal. Téchiné enjoys exploring dark, complex ideas and themes and often seeks to create a sense of moral ambiguity. With The Girl on the Train, Téchiné succeeds in establishing a fascinating dynamic that italicizes how unchecked media hype can explode a careless lie into a major news gaffe, although he accomplishes this without the same level of psychological character development he has shown in his best work. Still, although the main character's motivations remain largely a matter of conjecture, The Girl on the Train is a compelling piece of cinema.
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The more things change, the more they stay the same. As we enter the summer of 2003, Walt Disney Pictures reigns supreme as the distributor of the best animated fare. Yet, less than a dozen years after Beauty and the Beast became the first (and thus far only) animated film nominated for a Best Picture Oscar, Disney's in-house animated division has degraded to the point where it's a pale shadow of its former self. However, by acquiring the exclusive North American distribution rights for the films of Japanese master Hayao Miyazaki and by entering into a partnership with Pixar Films, Disney has managed to maintain its position atop the mountain, despite furious challenges from Dreamworks and Fox. Without either of those deals – especially the Pixar one – Disney's once unassailable position might have been lost.
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Rarely has the question "What the hell?" been more appropriate. An uneven amalgamation of the brilliant and the preposterous, Constantine left me by turns intrigued, confused, and wary. The recipe calls for some ingredients that are compelling, others that are audacious, and others that are downright maddening. With a bold, dynamic visual style that fuses film noir elements with traditional horror motifs, Constantine can be considered many things, but dull is not amongst them. This is not a timid film, yet it's not an entirely successful one, either.
The reign of Queen Elizabeth I of England began in 1558, when, at the age of 25, she succeeded her half-sister, Mary. Over the course of the next 45 years, Elizabeth established herself as one of the most popular and successful monarchs ever to rule England. Elizabeth, the pseudo-biographical film from director Shakhar Kapur (Bandit Queen), presents the young queen's struggles in the form of a grand costume melodrama (of the sort that the French are famous for). It's a rousing adventure that keeps the audience involved for the entirety of the two hour running time while opening a window into the culture that gave birth to Christopher Marlowe, Edmund Spenser, Francis Bacon, and William Shakespeare.
What is the difference between a bad melodrama and a good one? The key lies in the emotional response. If the viewer feels that he or she is being forced into reacting in a particular way because of "button pushing," the film makers have erred. While manipulation is almost always mandatory in a melodrama, it should be accomplished in such a way that no one in the audience is conscious of it at the time. Emotional high points should evolve naturally out of the plot; the storyline should not be constructed around those moments. Movies like Forrest Gump and Titanic capture the finer aspects of melodrama. Failed efforts like Patch Adams spend too much time trying to reduce the audience to tears through a series of cheap, transparent ploys.
This is yet another of those "based on a true story..." feel-good movies that's designed to make us believe that there are two kinds of human beings - free-spirits (who are the good guys) and establishment-types (who are inevitably villains). The title character, played by Robin Williams in one of his familiar dramatic/comedic turns, is a mental patient, who, during his stint in the Fairfax State Psychiatric Ward, decides that he wants to go to school to become a doctor. So, upon his release in 1971, the 40-something year old man enrolls in the Virginia Medical University. However, while the teachers preach book learning and emotional detachment, Patch believes that to treat a disease, the physician should connect with his patients. While his attitude is embraced by some of his fellow students, including a pretty co-ed named Carin Fischer (Monica Potter), Dean Walcott (Bob Gunton) forbids Patch to have contact with real patients, and, when he disobeys, he finds himself in danger of being thrown out of medical school.
The film is directed by Tom Shadyac, who helmed the first Ace Ventura movie, and written by Steve Oedekerk, who was behind the camera for the second (the pair also teamed up on the Eddie Murphy remake of The Nutty Professor). While these two arguably have some skill at comedy, they have little or none when it comes to drama. Patch Adams isn't much more than a series of overdone emotional scenes connected by a conventional plot line. Anyone interested in exploring a better approach to the same basic ideas should check out The Doctor, in which William Hurt plays a surgeon who learns about the coldness of the medical profession when he becomes a patient. In Patch Adams, there are moments of supposed emotional warmth as Patch connects with dying patients, towering sadness as he recites poetry over the coffin of a lost friend, and triumph as he overcomes the forces aligned against him. And, as is seemingly obligatory in this kind of film, there's a big speech at the end - one that makes Al Pacino's tirade in Scent of a Woman seem subtle by comparison. (It is perhaps worth noting, however, that few of the film's jokes involves flatulence, so maybe Shadyac and Oedekerk are trying to display some maturity.)
Robin Williams, who won an Oscar for his beautifully-understated role in Good Will Hunting, wavers between being effective and going over-the-top. From time-to-time, he has genuinely funny moments (when Patch Adams goes for comedy, it's not half bad), but, for the most part, the dramatic aspect of his performance is off. He's forcing the audience's emotional response. And, although attempting to replicate his work in Dead Poets Society, Williams is working with a script that isn't as polished, so some of his scenes come across as overwrought instead of heartbreaking.
The supporting cast is peppered with familiar faces. Monica Potter, most recently seen in the Prefontaine biography, Without Limits, is Patch's much younger girlfriend. Daniel London is the first of his student converts. Philip Seymour Hoffman (the prank phone caller in Happiness) is Patch's straitlaced roommate. Bob Gunton is Dean Walcott, the personification of evil. Michael Jeter is Patch's mental ward cellmate. Irma P.Hall is a nurse at the hospital where Patch works his magic, and Peter Coyote is a cranky cancer patient who becomes one of Patch's greatest successes.
Patch Adams is slated for a Christmas Day release, presumably because Universal Pictures believes audiences are more susceptible to this kind of half-baked storytelling during the season of good will. However, with the even more cloying Stepmom arriving on the same day, there's bound to be a run on Kleenexes. Patch Adams is the kind of film that will work for an audience that's just interested in having an emotional experience (with a happy ending) without caring how obviously or clumsily they are manipulated. I find this sort of sledgehammer film making to be offensive, but there are those who enjoy it. Somehow, though, I don't think there are enough viewers with such a low quality threshold to right Universal Pictures' floundering financial ship. Patch Adams is another miscalculation by a studio that hasn't done much right all year
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Next Day Air
Smoke weed, not crack, and use FedEx, not "Next Day Air." Such are the lessons of this low-grade entertainment about a bumbling courier who mistakenly delivers a large stash of coke to two bumbling criminals, angering a bumbling drug dealer and yielding predictably dire consequences in an altogether bumbling excuse for an action-comedy.
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Stuck on You
Conjoined twins Bob (Matt Damon) and Walt (Greg Kinnear) Tenor try to live as normally as possible. Outgoing and sociable Walt aspires to be a Hollywood actor, however, whereas shy, introverted Bob prefers the quiet life. They run a restaurant on Martha's Vineyard, where they let mentally handicapped Rocket (Ray Valliere) work as a waiter. Later, when a couple of customers insult him, they are thrown out.
Walt gets a role in a local theater's play. Bob stays as much as possible in the background, as he has a tendency to get stage fright. Following the play's success, Walt decides to follow his dream to Hollywood and persuades his hesitant brother to go along for the ride.
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FUBAR is the story of two lifelong friends, Terry (David Lawrence) and Dean (Paul Spence), who have grown up together: Shotgunning their first beers, forming their first garage band, and growing the great Canadian mullet known as "Hockey Hair". The lives of these Alberta everymen are brought to the big screen by documentarian Farrel Mitchner (Gordon Skilling), a young director who decides to take a look at Terry and Dean through a lens, exploring the depths of friendship, the fragility of life, growing up gracefully, and the art and science of drinking beer "like a man".
Their lives are complicated by a snubbing by their "party leader" Troy, better known as Tron (Andrew Sparacino). When Farrel discovers that Dean is hiding a serious case of testicular cancer, the wheels are set in motion for Dean to seek treatment from Dr. S.C. Lim (Dr. S.C. Lim). With Dean's last weekend before surgery approaching, Terry decides to take Dean, Farrel and the film crew camping. Things take an unexpected turn by the third day, and Terry and Dean must cope with further tragedy.
Fighting Tommy Riley
Tommy Riley (J. P. Davis) stands in boxing gear in a dingy dressing room. There is a knock at the door and a voice calls out, "Are you ready?"
The film flashes back seven months. Tommy is a former boxer who almost made the 2000 U.S. Olympic boxing team as a middleweight. He works laying computer
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Five friendsMarcy,Bert,Karen,Paul,and Jeff leave the city for a mountain get-way and a renting a cabin in the hills. But after Bert goes shooting for squirrels but instead shoots a hermit with a flesh eating disease,(He got from his dog) begging for Berts help. Bert promise him help but lies and runs back to the cabin. Later that night after getting doped and drunk, the hermit comes to the cabin. But the friends in panic, kill the man. But when the man dies in the reservoir and Karen drinks the water, her skin is oddly being ate away. The friends send her into a shed outside the cabin. But one by one - Not knowing about the dead man in the reservoir - become infected with the disease.
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Donna Trenton is a frustrated suburban housewife whose life is a turmoil after her husband learns about her having an affair. Brett Camber is a young boy whose only companion is a Saint-Bernard named Cujo, who in turn is bitten by a rabid bat. Whilst Vic, Donnas husband is away on business, and thinking over his marital troubles, Donna and her 5-year-old son Tad take her Pinto to Brett Cambers dads car shop... the car fails, and Cujo is very, very sick...
Eva Tudor met in his 16 th birthday and loved it all my life. But their relationship influenced permanent mysterious disappearance of a young man. During one of these disappearances Eva married Baron Von Oswald Seele. But when Tudor back again, the feelings between him and Eve break out with renewed vigor. They hold together nezabyvamoe summer. Eva became pregnant, her marriage is destroyed. Tudor disappears again, but in Europe the war begins ...