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1968 Tunnel Rats
The year is 1968 and a new group of recruits have arrived at an isolated U.S. Army camp in the Vietnamese jungle. They will be expected to flush out the enemy from the vast network of tunnels the Viet Cong have created under the ground, but first they have to get used to the terrible food the're expected to eat, and face up to their brutal sergeant (Michael Paré), never mind the possible fate at the hands of the opposing army. The sergeant has ordered a prisoner they have captured to be executed, something the troops have little stomach for, but this is merely part of the ongoing horrors of war...
What's this? An Uwe Boll film not based on a computer game? Yes, it's true, for this was a Vietnam War movie based on a story by Boll's regular producer Dan Clarke, although scripted by the notorious co-producer and director. In essence this was his version of Platoon, and looks very similar to that spate of eighties works on this subject, with plentiful swearing, bloody death and a supposedly clear-eyed and regretful look at the conflict. Funny thing with this is that although we get a fairly good idea of the camp and the tunnels, you're less convinced that there is any extensive combat going on elsewhere.
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Spring Break Massacre
Huzzah! One million times huzzah!!!
Spring Break Massacre, (amazingly the first film ever with that name), is a perfectly crafted throwback to the straight-up teen-slasher horror-comedies of the 80s that, as a genre, has sadly fizzled out. Taking the “if it ain’t broke, don’t fix it” approach, SBM doesn’t pull any of that “we’re gonna reinvent the genre for a new generation” bullshit. It basically says to you “Hey buddy. Here’s a bunch of jackass muscled-up dudes and a bunch of hot-ass stupid girls. And guess what? You’re gonna see a bunch of boobs and then everyone is going to fucking die. Is that okay with you?” and I’m like “SHIT YEAH THAT’S GREAT THANKS”.
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World's Greatest Dad
Death was once considered the great equalizer. These days, it's the best way to reconstruct a damaged reputation. Lionizing the dead isn't just a cottage industry; it's universal. The sins of the living are washed away in death, leaving behind a pristine corpse free of taint. The sullen are said to have been cheerful, the mute are labeled as gregarious, and the misanthropes are reported as bastions of charity and goodwill. With World's Greatest Dad, Bobcat Goldthwait takes this trend and skewers it in one of the least compromising black comedies of the year. The movie isn't perfect - it suffers from an uneven tone in the first half-hour, but it claims the one key ingredient a satire of this nature must possess: fearlessness.
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Monster's Ball is a powerful and poignant motion picture not about racism and redemption, as one might initially suppose, but about one of the most urgent and universal of human needs - that of finding solace for pain and loneliness. Though it has some of the trappings of an interracial romance, Monster's Ball is not that, either. The sex in this movie is not a precursor to love; it is a means by which two people can find temporary refuge from their otherwise bleak existences. An orgasm is an effective way to wipe away everything else, if only for a few moments.
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I define a "boo!" moment as an instant in a movie when there is a loud sound, usually accompanied by a musical stinger and occasionally in concert with the fast pass of an unidentifiable object across a portion of the camera's field of view. The idea behind a "boo!" moment is to startle viewers. Most horror fans are conversant with "boo!" moments but if you're confused, The Messengers offers a primer. It's wall-to-wall "boo!" moments with almost nothing else to recommend it. By the end of the film, these instances have become so frequent that they're more comedic than horrific. (People in the audience took the "boo" to heart because that's how they reacted when the movie ended.)
Age of Innocence
It's New York City in the 1870s, a society ruled by expectations and propriety, where a hint of immorality can bring scandal and ruin. This is an America every bit as Victorian as her contemporary England. Into this world arrives Countess Ellen Olenska (Michelle Pfeiffer), a woman who has spent much of her life in Europe and is now escaping from a disastrous marriage. Her initial adult meeting with Newland Archer (Daniel Day-Lewis) is sedate - he is engaged to her cousin May (Winona Ryder) - but there is a subtle fire smouldering from the first glance. From that point on, Archer's dilemma becomes painfully clear - proceed with what society deems proper and marry the rather vapid May, or allow his heart and passions to carry him far from the realm of what is conventionally acceptable.
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Moonraker is a sort of James Bond meets Star Wars. Released in 1979, the year that saw the arrival of Star Trek on the big screen, Moonraker was the latest film to latch onto the science fiction revival started by George Lucas' 1977 picture. Audiences flocked to see Moonraker, making it the highest grossing 007 movie before Goldeneye. The mixture of escapist action and space shoot-outs found favor with the American public. Indeed, while parts of Moonraker are rather silly (a trend during Roger Moore's tenure), solid special effects, well-executed action sequences, and a strict reliance upon the "Bond Formula" keep this film among Moore's better entries as the British superspy.
No Retreat, No Surrender
No black belts will be awarded to anybody who had anything to do with ''No Retreat, No Surrender,'' an exhibition of thunks and kerplunks for the karate set that opened yesterday at the RKO Warner Twin and other theaters.
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The movie opens with Joe Tyler (Perry), a process server, a week late, serving a Mafia kingpin known as Fat Charlie(Joe Viterelli) with a summons to appear as a witness in court, and his abrasive boss Ray (Cedric the Entertainer) ridiculing him for such while complimenting his rival server Tony (Vincent Pastore) for serving multiple targets in record time. Willing to give him one last shot, Ray gives Joe the assignment to serve British socialite Sara Moore (Hurley) with divorce papers from her husband, Gordon (Campbell), who is at his ranch in Texas with a mistress, Kate (Amy Adams), while Sara vacations in upstate New York.
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Sean McGinnis is a film student who moves to Los Angeles to break into the movie business. While looking for work, he passes the time watching rented videos. He sets out to watch Citizen Kane, but the videotape has accidentally been switched with an adult movie called Citizen Cum. Sean becomes instantly obsessed with the star of Citizen Cum, Johnny Rebel. His interest in Johnny leads Sean to turn down work in the mainstream film industry to become a cameraman for Men of Janus, the production company that has Johnny under exclusive contract. On his first shoot, Sean ends up as a "Fluffer" for Johnny, performing (offscreen) oral sex on him to help him maintain an erection and reach orgasm for the "money shot." He learns that Johnny's real name is Mikey, he is "gay-for-pay" and doesn't perform oral sex on other men or even kiss. Johnny has Sean fluff him on additional productions, and Sean's infatuation continues to grow. He confides his feelings for Johnny to co-worker Silver, who tells him that the relationship is hopeless because Johnny's a porn star and straight. Meanwhile, Johnny's girlfriend Julie, who works as a stripper under her stagename Babylon but who has tried to move into mainstream acting, learns she is pregnant.
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Methodic tells the story of a boy who becomes demonically possessed by an ominous presence known as The Dollman. Forced to obey his dark half, the boy ultimately murders his parents on his birthday and is sentenced to a life under a microscope at the state mental hospital. But evil cannot be contained so easily. Instead, The Dollman simply bides his time, dwelling within the boy- waiting for the day when he will become powerful enough to completely take over his human host. And when that day comes, god help us all.
Cataclysm aka The Nightmare Never Ends
Police detective, Mitchell, investigating the death of a victim of a Nazi concentration camp discovers a nightclubbing playboy who has strange powers over women and is seemingly ageless.
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An alien couple known as Beldar and Prymatt with cone-shaped heads from the planet called Remulak is mistakingly ditched on earth, during a scouting mission for planet conquest. While here, they dodge the INS, have a child and discover that life on Earth is quite good. But unfortunately they are being chased by the government who knows something is not quite right with the Conehead family. After they are rescued and taken back to their planet, Belder is told to come back and destroy planet Earth!
The movie is about a boy with a unique aging disorder one that makes him age 4 times faster than normal. Movie picks up when Jack (Robin Williams) is 10 years old, but looks 40. He tries to go to public school for the first time, and tries to become friends with kids his own age. His physical appearance causes him lots of problems, however.
After a recent breakup, Billy returns to his hometown to find something is not quite right with his best friend.