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From Paris with Love
John Travolta wipes out most of the Asian and Arab population of France in From Paris with Love, a plotless, pointless shoot 'em up directed by Pierre Morel (Taken) from a story by Luc Besson. Travolta plays Charlie Wax, a CIA operative sent to Paris to take down drug dealers or anyone who works in a Chinese restaurant or designs dresses or looks at him sideways or might be a terrorist, in this non-sensical ultra-violent R-rated action film that exists only to please those into high body counts.
Besson takes credit for the story, but really there's not much of an actual plot in evidence. I'm guessing that whatever storyline Besson initially came up with, he was able to jot down on a single post-it note. The hows and whys of what's going down on screen aren't nearly as important as the spiffy ways dreamed up to kill off at least 30, 40, maybe even 50 or more - who's counting? - of what I'm assuming are supposed to be bad guys over the course of an hour and a half. Travolta even employs a bazooka at one point to take out a car loaded with a bomb heading straight toward an American diplomatic caravan.
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It appears that The Uninvited is being marketed as a horror movie, but it doesn't seem to be quite sure what it is. Sure, there's some gore, and some "jump" moments where a hand shoots out to grab someone or a shadowy figure lunges at a character. But there are also stabs (no pun intended) at an old-fashioned family melodrama and at a supernatural thriller. Unfortunately, the film doesn't live up to the potential of any of these genres.
Watching the trailers for Ridley Scott’s American Gangster it’s hard not to be reminded of Scorsese’s The Departed, the most recently successful Hollywood spin on the world of mobsters versus cops. But if there’s any similarity between the two films at all, it ends with the advertisements. Where Scorsese’s film is intense, entangled, and full of pathos Scott’s film is calculating and flat. American Gangster is a procedural more than anything; a basic, by the numbers execution of a standard good cop versus sympathetic mob boss drama.
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Nikki Blonsky. The name doesn't exactly sing. It's at least as flat -- and, if you'll pardon the expression, as "ethnic" -- as Tracy Turnblad, the dance-crazy Baltimore teenager Ms. Blonsky plays in "Hairspray."
But Blonsky does sing, and like this giddy, refreshing movie, her voice rings loud and clear.
Tracy is an outsider who dreams of being with the In crowd, and innocent enough to believe she'll get her chance. And so she does -- this is America, after all. But she's the wrong body shape to get a fair shake from TV producer Velma Von Tussle (Michelle Pfeiffer), and, anyway, as someone cuttingly remarks, "The Corny Collins Show" isn't shot in CinemaScope.
Mickey Blue Eyes
An art-house auctioneer finds himself getting in deeper and deeper with the mob after learning that his teacher girlfriend is the daughter of a major mobster. Things get worse when a godfather decides to launder his no-talent son's gory paintings through the art house and gets the FBI into the picture. Everything then falls apart when the son is accidentally shot.
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Hangover Part II
When Yogi Berra said "It's déjà vu all over again," maybe he said it best. Then again, perhaps it was John McClane: "How can the same shit happen to the same guy twice?" While neither was specifically referring to The Hangover Part II, Todd Phillips' sequel to the unexpected 2009 blockbuster, they might have been. Using the original as a template, The Hangover Part II colors within the lines, but does so with bright fluorescents rather than drab primaries. Despite being mandated by the insane box office success of its predecessor, this movie feels anything but obligatory. It delivers what it's expected to deliver, and that's likely to make it a success
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The Kid is a true story of one who rises from abject poverty to stability and success, although it is not the typical Hollywood rags to riches tale.
The opening sees Kevin (Rupert Friend in a cagey nuanced performance) thrown out of the back of a van, hobbling towards a filthy bedroom as the credits are projected on each surface as graffiti. He attempts suicide with a smattering of pills, washing them down with spirits, he reflects on his life; his earliest memory of abuse. As a child right through adulthood Kevin is dealt a terrible hand and as he tries to survive and make something out of himself, things always get in the way, including the after-effects of his traumatic past.
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Thank You for Smoking
Thank You for Smoking is the feature debut of Jason (son of Ivan) Reitman, who has assembled an impressive cast. In addition to Aaron Eckhart, who has the lead, the credit list includes the following names: Katie Holmes, Cameron Bright, Sam Elliot, Rob Lowe, Maria Bello, William H. Macy, and Robert Duvall. Now, that's star power! While so much wattage doesn't guarantee a home run, a double or triple should be the minimum requirement. Yet, at best, Reitman delivers a bleeder up the middle. It is a disappointment.
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Over the Hedge
Over the Hedge, a feature-length adaptation of the popular comic strip, offers further proof that the Golden Age of Digital Animation has come and gone. This is arguably the most entertaining animated film since The Incredibles, but it's not much more than an enjoyable diversion. There are cute CGI animals, clever dialogue, a satirical look at suburban America, and a preachy moral, but it doesn't amount to much. Considering how the marketplace has changed, maybe it's unfair to compare Over the Hedge with the likes of Toy Story, Shrek, and Finding Nemo, but there's a world of difference. Those films engaged audiences of all ages on a variety of levels. This one falls in their shadow in terms of both ambition and achievement.
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If there are lots of flashes and bangs, and smoke and fire, either your car has just rear-ended a Pinto or Michael Bay has made a new movie. Sometimes, both are disasters. In the case of The Island, there's enough fun to be had that it's almost possible to ignore the stupidity of the story and the cavity that replaces character development. This is a non-interactive video game demo crossed with an amusement park ride. It offers plenty of thrills but nothing else. It looks and sounds good, but satisfies only on the most primal level. For some, this will be enough. Calling The Island a "popcorn, old-fashioned summer movie" is fair, but it's also sad, since it could have been more. But movies that aim low rarely achieve any kind of altitude.
The Valley of Light
Made-for-TV drama about Noah (Chris Klein), a homeless World War II veteran who settles in a small North Carolina town and develops relationships with Eleanor (Gretchen Mol)...
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The Waiting Room
Two complete strangers, ANNA and STEPHEN, are brought together by chance by an elderly man who waits for his wife on a station platform. Their fateful meeting acts as a catalyst for them to examine and challenge whats going on in their different relationships, and make hard but positive decisions for themselves. If they can change their lives maybe they can meet again.
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He's Just Not That Into You
The needy Gigi Haim is a young woman seeking her prince charming somewhere amongst her unsuccessful dates. After dating estate agent Conor Barry, Gigi anxiously expects to receive a phone call from him. However Conor never calls her. Gigi decides to go to the bar where he frequents to see him, but she meets his friend Alex who works there. They become friends and Alex helps Gigi to interpret the subtle signs given out by her dates.
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There is a war in the world between the men and the women. A young girl tries to escape this reality and comes to a hidden place where a strange unicorn lives with a family Sister, Brother, many children and an old woman that never leaves her bed but stays in contact with the world through her radio. Since the content of this picture is not as important as the pictures and allegories, the simple plot can not be described further.
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Man of the West
On his way to hire a schoolteacher, a homesteader is left a hundred miles from anywhere when the train he is on is robbed. With him are an attractive dancehall girl and an untrustworthy gambler and he decides to get shelter nearby from outlaw relatives he used to run with. They dont trust him and he loathes them but they decide he can help them with one last bank job.
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Debbie Macomber has been knitting since the age of twelve. In addition to being a 1 New York Times fiction bestsellerwith books translated into twenty-three languagesshe lends her name to a dozen pattern and craft books and has her own line of knitting products. Debbie and her husband, Wayne, have four children and eight grandchildren and split their time between Washington State and Florida.
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