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Oldboy director Park Chan-wook takes on vampires in his new film Thirst, putting his own unique, gruesomely violent spin on this overdone genre in a film that is more erotic black comedy than straight-up horror.
After a blood transfusion transforms Catholic priest Sang-hyun (The Host's Song Kang-ho) into a vampire, this kindly man of the cloth's newfound bloodlust will turn him into the antithesis of everything he's ever stood for. The tormented Sang-hyun is initially able to satiate his hunger for human blood by siphoning it from patients at the hospital he serves, but he won't be able to get by that easily for long.
Whatever you do, don't throw Michael Mann's Heat (or God forbid, The Godfather II) into the DVD player prior to venturing off to your local theater to see Righteous Kill. Part of you might want to watch the film that last featured Robert De Niro and Al Pacino opposite one another to get you in the mood, but you'll surely be disappointed when the popcorn's run out and what you're watching on the big screen doesn't even belong in the same conversation as the film you just watched at home. That's because Righteous Kill is a predictable pile of pass me the paycheck, with both De Niro and Pacino phoning in a combination of past performances -- of men with tough, no-nonsense New York City exteriors and sly, slickly-delivered one-liners. This isn't the De Niro and Pacino of old ... it is, unfortunately, the older De Niro and Pacino.
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It's really bad enough to make yet another film from Alexandre Dumas' classic novel "The Three Musketeers." It's even worse to veer wildly from the source material, losing the story of the Musketeers, and feature choreography from the "legendary" (aren't they all recently?) fight master Xiong Xin Xin. The easy logic would be to just stand back and wonder why. Why bastardize a classic so much when very little effort in translating the book could've produced an entertaining film? But that kind of thinking will drive you insane.
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For her feature debut, writer/director Zoe Cassavetes has elected to tread into territory where even the best stories feels like clichés. Broken English is competently made and features a solid performance from lead actress Parker Posey, but it's the kind of film that will resonate only with a tiny fraction of the available audience. Unless a viewer's age and situation mirrors that of Posey's Nora Wilder, odds are that this movie will generate a sense of déjà vu. Casavetes tells her tale, but it's one we've already seen, and she doesn't bring much that's new or fresh to the narrative.
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Downfall is the third major filmed account of Hitler's final ten days, following in the distant wake of 1973's Hitler: The Last Ten Days and 1981's The Bunker. A superior production to both of the earlier movies, Downfall is a windfall for anyone who, like me, is fascinated by stories from World War II. The first internationally released German production to feature Hitler as a central figure, Oliver Hirschbiegel's film has been criticized in some circles as presenting a portrait of the Fuhrer that is "too sympathetic." In fact, nothing could be further from the truth. As portrayed in a powerhouse performance by Bruno Ganz, Hitler comes across as a petty, demented figure who spews bile as he rants and raves. The lone exception is an establishing scene in 1942 (when Hitler chooses a secretary), where he appears almost grandfatherly. Other than that, he is shown to be a conscienceless, hateful madman who believes his people deserve to die because they are no longer fit to live.
Shrek the Third
Four words say all that needs to be said about Shrek the Third: more of the same. The problem is, what seems fresh and pleasing the first time through starts to feel a little stale by the time we've gone through it three times (not counting video games and an amusement park ride). The recipe hasn't changed: take a few appealing characters, surround them with slightly off-kilter versions of our favorite fairy tale personalities in a land far, far away, mix in some pop songs and hip cultural references, and keep the tone generally light. It worked beautifully in Shrek and was still appealing in Shrek 2. By installment #3, it has become a little tiresome. Kids will still love the big green ogre and his wisecracking donkey, but adults may find that the formula is wearing thin. Shrek the Third is a classic example of a movie that exists because its predecessor made a lot of money. ($436 million domestically, to be exact.) There's no creative reason for this movie to have been greenlighted. It's a mass-marketed product, plain and simple, where product tie-ins fatten an already gorged pot. That's capitalism at work.
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The average movie about the abortion debate tends to be preachy, melodramatic, and unbearably solemn. So, it comes as something of a shock that the latest venture to the front line of the pro-life/pro-choice battle is actually a comedy. Director/co-writer Alexander Payne has taken the slogans, name-calling, and behind-the-scenes tactics, and created a vicious satire that skewers (and probably offends) those on both sides of the issue. There's a serious message here, as well -- that in a war between ideologies, it's too easy to lose sight of the individual.
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Napoleon Dynamite should be required therapy for anyone with a self-image problem. No matter how much of a loser a person believes himself to be, he couldn't possibly be in worse shape than the protagonist of Jared Hess' wickedly funny high school comedy. With a low-key sense of humor and without the slightest whiff of sentimentality, Hess delivers a film about geeks that makes Revenge of the Nerds look like the Hollywood tripe that it is. Napoleon Dynamite isn't about a cute, cuddly, inoffensive movie nerd; the main character is morose, antisocial, and has a working understanding of what happened in Columbine. There's plenty of humor in the film, but the movie is often a little uncomfortable to watch, and Napoleon is not an easy guy to like. Rooting for him takes effort.
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Like Water for Chocolate
In the early years of the twentieth century, on a small ranch in Mexico, the story of three sisters and their repressive mother unfolds. Tita (Lumi Cavazos) is the youngest daughter of Mama Elena (Regina Torne), and, as such, because of a family tradition, she is forbidden to marry or have children until after her mother's death. Tita is agreeable to this situation until she falls in love with the dashing young Pedro (Marco Leonardi). When Pedro learns that he cannot marry Tita, he agrees to an engagement with her older sister, Rosura (Yareli Arizmendi), in the hope that by marrying her, he will have ample opportunities to spend with his real love.
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Field of Dreams
"If you build it, he will come." That's the ethereal message that inspires Iowa farmer Ray Kinsella (Kevin Costner) to construct a baseball diamond in the middle of his cornfield. At first, "he" seems to be the ghost of disgraced ballplayer Shoeless Joe Jackson (Ray Liotta), who materializes on the ballfield and plays a few games with the awestruck Ray. But as the weeks go by, Ray receives several other messages from a disembodied voice, one of which is "Ease his pain."
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The Last Godfather
Young-goo (Hyung-rae Sim) the son of mafia boss Don Carini (Harvey Keitel), is too foolish to be part of the mafia elite. One day, Young-goo comes to his father and is trained by Tony V (Michael Rispoli) to be his fathers successor. A few days later, Young-goo accidentally rescues Nancy (Jocelin Donahue), the only daughter of Don Bonfante, the boss of a rival mafia family. But Vinnie (Jason Mewes), an under-boss of the Bonfante family kidnapped her and fabricates that Young-goo has taken her. Vinnies behavior provokes an armed conflict between the two families.
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Obsessed by the world of pool, Johnny (Mars Callahan) could be one of the best. But his mentor and "trainer" Joe (Chazz Palminteri), a shady hustler who decides how and who Johnny plays, is holding him back from his dream. When the day finally comes, Johnny breaks from Joe, which leads to only one thing -- violence. Joe is beaten up by some of Johnny's buddies as a sign to leave him alone, and with this final act of freedom, Johnny leaves the world of pool-sharking. After an ultimatum from his girlfriend Tara (Alison Eastwood), Johnny finally commits to a "real" job in the construction business, but is soon miserable there. He finds himself spending most of his time with his younger brother Danny (Michael Rosenbaum) who it seems is following in his footsteps on the road to a life Johnny left when he broke from Joe. As for Joe, he is bent on revenge for the beating he took, and soon he has a new protégé Brad (Rick Schroder) who is just as good if not better than Johnny. And he's got his eye on Johnny's brother. The two play a high-stakes game of pool which ends in a huge debt owed to Joe, and soon Johnny finds that his brother is in jail for trying to steal the money he owes. The only way out for Johnny is to play Brad, which results in a "race to nine" showdown that pits two of the greatest players against each other for large sums of money, and Johnny and Danny's lives.
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A wild weekend is in store for three high school seniors who visit a local college campus as prospective freshmen.
Chris and Bill are called upon for their excellent surveillance record to stakeout a lakeside home where a Mafia trial witness is believed to be heading or already hiding. Unlike their earlier Stakeout, this time they are accompanied by Gina Garret from the DAs office and her pet rottweiler Archie their cover, husband and wife with son Bill.
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Dawning takes place at a Northern Minnesota lake cabin where a brother and sister visit their father and step-mom. As the first night unfolds with uncomfortable small-talk and tension, tragedy strikes as the beloved family dog is found mortally wounded. Almost immediately a stranger, potentially under the spell of some un-seen presence, appears in the cabin and tells the family that he has come to save them...but from what? The mans arrival upsets what at best was only a tentative balance and the pretense at civility begins to crumble. Soon, their lack of trust in each other and their inability to cope with any new pressure exposes their weaknesses and what the stranger has started, whatever is waiting in the dark may finish.
Hannah Gadsby: Kiss Me Quick Im Full Of Jubes
It does contain the trademark droll, heart-breakingly funny, self-deprecating observations about Hannah Gadsby and her family that have delighted audiences all over the world.
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