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Keeping in mind that this is a Disney Channel Original Movie, and was not intended as Oscar material, I found this movie very enjoyable.
The plot was actually fairly interesting, several clever twists made it one of the more refreshing made-for-TV, "family" films that I've seen. Aside from the plot, I found the acting in this film better than most of its genre. Although occasionally slapstick, particularly toward the end (what can you expect, it is a DCOM), the acting was generally believable in a crazy/fun sort of way. There was great chemistry between some of the characters as well. I really liked the performances by Osment, Henrie, and Arias.
Hannah Montana: The Movie
An interesting question occasioned by the release of Hannah Montana: The Movie is whether the motion picture incarnation of the popular TV show is catching the backend of the pop phenomenon wave. Certainly, when the 3D Miley Cyrus concert movie was released last year, Hannah Montana was peaking, which resulted in some extraordinary box office numbers for a limited release film targeted at a tight demographic. This year, however, the 3D Jonas Brothers concert movie (targeting the same audience) tanked and Cyrus' latest album, the Hannah Montana: The Movie soundtrack, could debut at no better than #2, selling only about a third the number of copies in its initial week as the singer's previous CD. Based on the buzz in the primarily tween female audience who attended the pre-release screening at which I saw the film, Hannah Montana is not yet on life support, but Disney is wise to strike while the iron is hot. It's hard to imagine this having legs.
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20 Dates purports to be a documentary - a real life romantic comedy about how an aspiring film maker set out to chronicle the role of dating in modern American culture and wound up discovering true love. However, like Michael Moore, whose behind-the-scenes tinkering with the reality of Roger and Me was well documented, director Myles Berkowitz doesn't have qualms about staging scenes to boost the drama of his project. The problem with that approach is that it calls into question the "truth" of all of Berkowitz's footage. Consequently, despite Berkowitz's protestations to the contrary, 20 Dates has to be seen as a semi-fictional account.
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Flags of Our Fathers
Flags of Our Fathers is Clint Eastwood's homage to the honored dead of World War II as well as a meditation upon how an icon is formed. Based on the book by James Bradley and Ron Powers, the movie centers around the Battle of Iwo Jima, one of the key late war conflicts in the Pacific Theatre. However, unlike other films that have trodden similar ground (in particular, the John Wayne vehicle The Sands of Iwo Jima), Eastwood's movie does two things differently. First, it uses the Saving Private Ryan approach to battle (not surprising, since Steven Spielberg is a producer) by showing all the blood and viscera older war movies kept hidden. Secondly, it intercuts the Iwo Jima sequences with those happening Stateside several months later, where key events are transpiring.
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The main problem with Coach Carter can be summed up simply: too much sermonizing. In a way, it's hard to fault the film, because its heart is in the right place. The movie wants to impress upon teenagers that education is the first step on the path to empowerment, and that it is possible for students raised in poor neighborhoods to escape from the vicious cycle of poverty and violence. But good intentions and a positive message do not always make for a strong movie. Coach Carter wants to be motivational, but it uses clichéd short cuts and stock characters to emphasize its points, and, in the end, the experience seems manufactured and scripted in a paint-by-numbers fashion, even if it is said to be "inspired by the life of Coach Ken Carter." (The phrasing of that statement indicates that considerably liberties were taken.)
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Look at Me (Comme une image)
At first glance, Look at Me appears to be a standard French drama about a dysfunctional family. All the elements are in place: the domineering father whose celebrity status has made him indifferent to the needs of his family, the meek trophy wife, the overweight daughter who craves her father's unavailable affection, and several outsiders who find themselves drawn into an unstable orbit around these people. Yet first glances can be deceiving. Yes, this is a dysfunctional family drama, but it's also something more profound. Look at Me takes aim at the common human character flaw of self-absorption and examines how we no longer seem to communicate with one another. And, as is typical of her work, director Agnès Jaoui (she co-wrote Un Air de Famille for director Cedric Kapisch) gives us plenty of smart dialogue and accents her drama with black humor.
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It seems that every new comedy to arrive in theaters pushes the envelope further, daring the MPAA to give it an NC-17. Scary Movie, from the demented and very funny minds of the Wayans Brothers, becomes the latest motion picture to risk censure in the name of laughter - and gets away with it. Featuring scenes that make American Pie, There's Something About Mary, and Me, Myself and Irene seem almost tame, Scary Movie combines the raunchiness of '90s teen comedies with the single-movie spoof approach of Mel Brooks and the rapid-fire barrage of gags and jokes used in Airplane and The Naked Gun. With body fluids flowing almost as fast as the stream of often profane and off-color zingers, Scary Movie proves to be the kind of film that will shock the faint-of-heart and leave just about everyone else laughing until tears run down their cheeks.
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Haunting and disturbing, Time is the kind of motion picture that gets under your skin and doesn't let go. It lingers long after the final credits have rolled and, for those who see it with friends, it will provoke endless post-movie discussions. A meditation on identity and how our physical appearance relates to who we are, Time is the product of the fertile creative mind of controversial (some love him, some despise him) South Korean director Kim Ki-duk. Like Kim's previously seen international efforts (Spring Summer Fall Winter...and Spring, 3-Iron), this one takes a seemingly straightforward storyline and twists it to devastating effect during the final act. The result is a production of intellectual and emotional power. It's nowhere close to conventional and aptly fits the term "challenging."
Nil by Mouth
There is a scene in Nil by Mouth, actor Gary Oldman's directorial debut, that is excruciatingly difficult to watch. It's not especially graphic, since the gruesome details take place out of frame, but anyone with an imagination can conjure up an image to chill the blood. The sequence depicts a particularly brutal instance of spousal abuse, and is perhaps only recently rivaled in intensity by a similar occurrence in Once Were Warriors. One might think that movie-goers, inured to explicit on-screen violence, would not flinch at what Oldman presents, but there's a major difference between the decapitations and eviscerations of a Starship Troopers and the savageness of Nil by Mouth – the former plays like a comic book come to life; the latter is shockingly real.
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Remains of the Day
The cream always rises to the top, and such is the indisputable case with Anthony Hopkins' deeply moving portrayal of the stilted butler of Darlington Hall in the newest offering from Merchant Ivory. Reuniting Howards End co-stars Hopkins and Emma Thompson, this offering is on par with last year's best picture contender.
Most of The Remains of the Day is presented as a series of flashbacks, with a 1950s James Stevens (Anthony Hopkins) recalling his days of service under the late Lord Darlington (James Fox), especially during the years leading up to the second world war. However, at the center of the tale is Stevens' never-defined relationship with the head housekeeper, Sally Kenton (Emma Thompson). They love each other, but that love remains unvoiced, for no matter how hard Miss Kenton tries to draw him out, Mr. Stevens can not admit his feelings, not even to himself.
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A curious thing happened to Cosi on its way to a United States release -- it got lost. Or at least temporarily misplaced. Miramax Films began showing trailers for this movie more than a year ago, but the opening date was repeatedly delayed until just about everyone had forgotten about it. Now, eleven months after it premiered in Australia, Cosi is finally set to open. Unfortunately, it's not really worth the wait. The film is like a half-baked amalgamation of A Midwinter's Tale and Shine, and doesn't excel as either a comedy or a drama.
Outside Providence is a simple coming of age story, a nostalgia-soaked trip back to the mid-'70s when the social fabric of the American youth was stitched together by sex, drugs, and rock music. The film, despite never venturing into uncharted territory, is funny, warm, and endearing, and features a protagonist who grows on the audience. Because the themes are universal (first love, rebellion against restrictive authority, generational friction), nearly everyone, regardless of their age or gender, should be able to relate to the experiences of Timothy "Dildo" Dunphy.
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The Lawn Boy
A heart-warming, delightfully funny romantic comedy about a lawn boy who catches the eye of an upscale career woman. Together they must endure the pressures from their friends and family which include his home-boys, his Cheaters watching sister, her snooty girlfriends, and her cocktail drinking, snobbish mother an father. Will their love carry them through it all?
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Jack is caught with the wife of his employer, a Vegas thug. The thug sends goons after Jack, who convinces his best friend, Pilot, to flee with him. Pilot insists that they head for Seattle, but doesnt tell Jack why. The goons learn from Pilots drug source where the youths are headed, and they follow, hell bent on breaking Jacks feet. On the road, Jack and Pilot give a ride to Cassie, a distressed young woman. She and Jack hit it off. They pick up an aging stoner headed to Seattle for Kurt Cobains memorial, and they help a circus sideshow family. Why is Pilot so set on Seattle, will the goons catch Jack, and is there any way the friends competing needs can be resolved?
Child's Play 5: Seed of Chucky
Six years following the events of Child's Play 3 and Bride of Chucky, the film opens with Glen (Billy Boyd), the apparent "son" of Chucky and Tiffany; born at the expense of his estranged mother Tiffany dying immediately after he was born (this is shown at the end of Bride of Chucky) and living a life of embarrassment and abuse as a ventriloquist's dummy who shortly said he found him long ago in the cemetery of where Glen's mother died. Desperate to know his parents (after seeing behind the scenes footage of the Child's Play movie-within-a-movie on TV), Glen escapes and tracks them down to Hollywood.
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Julia is a drunk. She loses her job in real estate and at an A.A. meeting meets a neighbor, Elena, an addled Mexican woman who talks about having lots of money and a plan to kidnap her own son from the boys grandfather, a wealthy businessman. Elena wants Julias help. Julia says yes with her own plan to do this alone. Following Elenas plan, Julia manages to grab the boy, Tom, whos about 10. Now what? She asks for a ransom. Toms grandfather and his money are connected directly to Mexican drug trafficking, so Julia is up against long odds. Will anyone make it out alive?