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Director Edgar Wright coined an apt term for Shaun of the Dead's genre – Romantic Zombie Comedy, or affectionately, 'rom-zom-com'. In doing so, he opened the door for a few me-too films out there who dared to lay their cards on the table - but none have been able to measure up to the British comedy flick thus far.
Happily then, we can give Zombieland a deserving nod – an American take on the rom-zom-com, deftly juggling extreme gore with genuine laughs and a terrific cameos from one of Hollywood's finest. It falls into the pratfalls of predictability, but even the saccharine moments barely detract from this good-natured comedy.
Jackson Mandrake lives life on the edge. Working as an underground magician and escapologist, his act has grown increasingly dangerous. Following a daring escape from an SUV that has been dropped out of an plane at the Burning Man Festival, he is coerced by the CIA into breaking a deep-cover agent named Xi Shing Lung out of a maximum security jail. Hypnosis, contortion, distraction and technical wizardry all come into play as Mandrake breaks the agent out from the inside within a 24-hour deadline.
Red White & Blue
In Austin Texas, the lives of three young people Erica, Franki and Nate intertwine in a fateful, tragic way and head down a rocky and violent road to heart-rending oblivion. Erica (Amanda Fuller) lives rent-free in the local co-op, but spends her nights trawling the bars and beds of Austin. Damaged, emotionally withdrawn, never really connecting with anyone, and sleeping with multiple men is just what she does until she meets the older and mysterious Nate (Noah Taylor), working in a hardware store, but with an honorable discharge from Iraq.
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Tired vocabulary like “enfant terrible” and “provocation” is a constant threat when writing about Harmony Korine and his films. Trash Humpers is no exception: creepy masks, low-grade torture, frequent public urination, senseless vandalism and the title, acted out on defenseless garbage cans, all have a confrontational panache about them to be sure. But the film is also full of poetry, dance, song and moments of aching poignancy. Such is the dilemma with Korine and his remarkable career; for all the fireworks, there is an impressive coherence in the subject matter of his work. His four feature films all seek to shed light on a certain class of people: unique and bizarre individuals usually lumped under the heading of “subculture.”
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Me, Myself & Irene
After taking a break to become involved in the production of the small coming-of-age drama Outside Providence, the Farrelly Brothers are at it again. Their 1998 hit, There's Something About Mary, will forever be known for breaking the semen barrier in mainstream movies. It also raised the vulgar comedy to new heights of profitability, proving that envelope-pushing will attract more viewers than it will drive away. Since There's Something About Mary, it seems that each new R-rated comedy has tried to exceed the gross-out quotient of its predecessors (American Pie, for example, was more raunchy and lewd than Mary), leading to a cavalcade of jokes about subjects that Mel Brooks wouldn't have touched in his heyday. However, for their latest, Me, Myself & Irene, the Farrellys have not joined the one-upsmanship game. Sure, this movie contains a fair amount of risqué material and more than a few jokes for people with a warped sense of humor, but, if anything, it is more tame than There's Something About Mary. Me, Myself & Irene sacrifices punch lines in order to develop characters and relationships.
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The reason "body swap" movies (in which someone's mind is transposed into a different body) are so popular is because they are ripe with potential. Unfortunately, that potential is rarely reached. Productions like Big and Prelude to a Kiss are the exceptions, not the rule. 17 Again falls into the less creative, more generic majority category. Imagine a generic script and mediocre acting and you have unearthed the essence of 17 Again, which appears to have been made for the sole purpose of spotlighting Zac Efron. The target audience is roughly the same as for Hannah Montana: The Movie, and the quality is in the same neighborhood as well.
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Despite the allusion in the title, Guess Who is not a remake of the classic Guess Who's Coming to Dinner. In fact, other than borrowing the underlying premise (girl brings home boyfriend of a different race to meet her family), there are few similarities between the films. To start with, the 1967 feature was primarily a message melodrama that doubled as an examination of race relations at the time. Kevin Rodney Sullivan's (How Stella Got Her Groove Back) 2005 movie is an overt comedy that, while not ignoring the race issues altogether, uses them more frequently for humor than to illustrate serious points. And society has changed in the last 40 years. What was controversial and daring in 1967 (interracial relationships) is no longer so today. Although it would be unfair to characterize Guess Who as vapid, it bears a closer resemblance to a fusion of Meet the Parents and The Odd Couple than to Guess Who's Coming to Dinner.
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The Producers is a movie based on a play based on a movie about a play. And that's probably the funniest thing about it.
In 1968, Mel Brooks made his big-screen directorial and writing debut with The Producers, a slapstick farce about how two Broadway producers concoct a scheme to get rich by making the worst play in the history of the Great White Way. Predictably, what should be a colossal failure turns out to be a smash hit. Despite a delightfully wicked premise and a couple of delicious lines, The Producers is not on par with Brooks' other early films. It's not consistently clever or funny, and there are long, tedious stretches when one obvious joke after another falls flat. Brooks would hit his stride six years later with Blazing Saddles and Young Frankenstein. The Producers shows little of the humor evident in those (and other) movies.
I suppose High Art is as good a name as any for this pretentious melodrama, an often-diverting but ultimately pointless attempt to wed intellectual twaddle with a soap-opera-ish lesbian romance. Lisa Cholodenko's film, which had its world premiere in competition at the 1998 Sundance Film Festival, received a decidedly mixed reception there, but was widely praised by feminists more because of its theme of female empowerment than because of a particularly original or engaging script.
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Open Your Eyes
Of all the films that emerged from the 1998 Sundance Film Festival, none caused me to ponder, wonder, and puzzle more than Alejandro Amenabar's sophomore feature, Open Your Eyes. Film of this intelligence, audacity, and complexity come along so rarely that it's mandatory to cry out their arrival. Saving Private Ryan may be the best movie I saw in 1998, but Open Your Eyes was the most original. (Note: North American distribution was delayed from the originally planned October 1998 to April 1999.) It is a piece of cinema that will have viewers guessing and questioning from beginning to end.
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The Naked Gun 2½: The Smell of Fear
The most accurate way to describe the Naked Gun series is comparing it to Marmite.
You either hate it or you love it.
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The Man Who Would Be King
This adaptation of the famous short story by Rudyard Kipling tells the story of Daniel Dravot and Peachy Carnahan, two ex-soldiers in India when it was under British rule. They decide that the country is too small for them, so they head off to Kafiristan in order to become Kings in their own right. Kipling is seen as a character that was there at the beginning, and at the end of this glorious tale.
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A motley crew of Australian militiamen or 'chocos' from the 39th Battalion are stationed in a New Guinea village just after the Japanese invasion. The 39th Battalion are the only troops available to hold off the Japanese advance until the AIF arrives to relieve them. The story centres on an infantry section of the 39th Battalion. The section with their platoon commander, an AIF lieutenant (Ben Barrack) who has served in North Africa, is on forward patrol when they are attacked by a Japanese force. The lieutenant is killed early in the battle and the section, led only by a recently-promoted lance-corporal, Max (Simon Stone), decide to fall back. One of the men, L/Cpl Wilstead (Ewen Leslie), is bayoneted in the face by a Japanese soldier, and a Bren gunner called Blue (Christopher Baker) offers to stay and provide cover. However, the remaining men are cut off and surrounded in the dense jungle, with little hope of escaping. The Australians try to remain hidden until nightfall, when Darko (Travis McMahon) and Jack (Jack Finsterer) decide to go and find out where Blue is. They stumble across Blue, who is tied up and being tortured by Japanese soldiers. Darko and Jack look on helplessly as the Japanese soldiers bayonet him in the stomach and groin, and finally decapitate him with a sword. They return to their hiding place, shaken by what they have seen. The Japanese ambush the section and they run further into the jungle. Caught behind enemy lines in harsh terrain, Jack, to whom the others (including his brother, Max, have deferred) tries to maintain command of a small group of men. Suffering from malaria and dysentery, the remaining six men decide to make their way to Isurava, where the remainder of the 39th are fighting a desperate battle.
Edie & Thea: A Very Long Engagement
After 42 years, feisty and delightful lesbian couple Edie and Thea are finally getting married. From the early 60s to the present day, the tireless community activists persevere through many battles, both personal and political. As Edie says, We just went on with this talent we have for wrestling joy from the shit. Susan Muska and Greta Olafsdottir (THE BRANDON TEENA STORY) return with a love story of two remarkable women whose commitment to each other is an inspiration to us all.
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On a dark winters night, a pregnant cow screams out in agony on Dans Farm. Dan is trying to deliver he calf but there is a problem. Something has gone terribly wrong with the calf inside the cow. And Dan is terrified. Over the next 35 hours we slowly learn the shocking truth of what is happening on the farm the biotech experiment gone wrong the awful reality of what has been done to the cattle and the physical danger that the five people on the farm find themselves in.
L.E.T.H.A.L. Ladies: Return to Savage Beach
A stolen computer disk contains the location of a hidden tresaure trove. Its up to the sexy ladies of LETHAL (Legion to Ensure Total Harmony and Law) to find the treasure before the bad guys do. Will the forces of evil be able to overcome LETHALs powerful combination of bullets, brains, and boobs?
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