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Set in the Southern States of the USA, Machined Reborn takes us on twisted tale of sadist voyeurism and masochistic violent indulgences. Perhaps owing a lot to Hostel and other torture movie brethren it is not for the faint of heart and is laced with over the top scenes of anguish and extreme psychological disturbances. The basic storyline revolves around a young couple who invest in a junkyard hoping to cash in one day and make a few dollars. Unknown to them at the time however is that someone has already occupied the site, someone with some dark intentions indeed. What will develop over the movie is a game of twisted blackmail as the the young man tries to save his woman.... Any way he can.
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Thereís good news and thereís bad news regarding the events of DEVIL. The good news is that this is a movie with M. Night Shymalanís name attached and didnít end up being a complete waste of time and resources, in fact itís actually a pretty entertaining piece of film. The bad news is that itís still not going to be the best movie youíve ever seen and despite the horror elements and claustrophobic setting, itís not very scary either.
Lady in the Water
Lady in the Water has its origins in a bedtime story director M. Night Shyamalan made up for this kids. If this the kind of bedtime story he tells, I bet his kids have some freaky dreams. I also bet those dreams are a heck of a lot more intriguing than the film their dad made from the tale he wove for them.
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Lost City Raiders
In between his breakout role on Lost (I know he had done a lot of things prior, including a stint on Smallville) and his triumphant return to the small screen with the hit WB show The Vampire Diaries (not that I watch), Ian Somerhalder turned to television director extraordinaire Jean de Segonzac for a cinematic turn in what I am sure they both believed would be a... ahem... high water mark in their careers that would propel them to the next level. I can't say that with a straight face. Lost City Raiders needs to be viewed as a job for a paycheck and nothing more. Plus, If I am not mistaken, Ian Somerhalder could be positioning himself to be the next Casper Van Dien, with the limited acting range and marquee idol looks.
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Fierce People starts out as a satire-tinged, jocular drama that undergoes a jarring shift in tone to the dark side. While the film successfully makes light of such subjects as drug addiction and coma victims during its first half, the event that occurs around the mid-point is so grim that Dirk Wittenborn's screenplay simply closes down the humor and lets the film progress in a more sober fashion. In a way, it's a shame, because Fierce People is a lot of fun during its first hour; the final 45 minutes aren't as enjoyable. The distributor, Lionsgate, must have recognized the difficulty in getting people to watch the movie. It has taken more than two years since Fierce People's premiere at the 2005 Tribeca Film Festival for it to finally see a limited theatrical distribution.
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Unleashed is two radically different movies fused into one. On their own, each of the films might have stood a chance of working, but, brought together in concert, the radical shifts in tone create a weird dichotomy that will distract and disorient some viewers. As if that isn't bad enough, the storyline contains elements that are so patently ridiculous that you half-expect members of Monty Python's troupe to show up on screen to say, "And now for something completely differentÖ"
Director Louis Leterrier (The Transporter) and screenwriter Luc Besson (The Professional) make unmistakable use of the three-act structure. The divisions are clear. Act I is grim and violent. Act II is a twist on Pygmalion. Then the violence is back with a vengeance in Act III. One senses that those who appreciate the middle 45 minutes of the film will be turned off by the bookend sections. And actor Jet Li's core constituency, which expects lots of martial arts fight scenes, will be mystified by why the film eliminates those elements for more than half of its running length. Those expecting a typical action movie may find themselves drifting off to sleep around Unleashed's midpoint.
A moment frozen in time through the lens of a camera - that's one of many images director Jan Troell uses to cement the foundation of his new period piece, Everlasting Moments. The chronicle of a woman who lived and died in the early part of the 20th century, this film covers the period between 1907 and 1921. Troell asks hard questions about love, fidelity, and responsibility and, perhaps most intriguingly, paints the portrait of a woman whose life could be considered a success or a tragedy, depending on the shading of the lens through which it is observed.
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In my review of Woody Allen's previous misfire, Melinda and Melinda, I wrote the following: "Lately, Allen's films have sunk into a state of heightened mediocrity - sporadically entertaining, but often disappointing, at least for those clinging to the hope that Allen will return to 'form.' I no longer expect great things from a Woody Allen movieÖ" Indeed, it has been over a decade since Allen has produced a memorable motion picture. Match Point puts an end to the drought, and does so in an impressive and unexpected fashion. Not only could one argue that this is the best "serious" work the director has ever attempted, but it's presented in a way that even the most seasoned Allen fan will have difficulty recognizing the iconic filmmaker's fingerprints.
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World Is Not Enough
Ten years ago, when the second and final Timothy Dalton Bond movie, Licence to Kill, tanked at the box office, it looked like the venerable secret agent had finally run out of gas, driven into the ground by the likes of The Terminator and Rambo. A six year hiatus followed, and, when Bond finally returned in 1995's Goldeneye, Dalton had been replaced by Pierce Brosnan and the series was said to have been given a complete overhaul. Actually, as Goldeneye and its sequel, Tomorrow Never Dies, illustrated, the changes were more cosmetic than anything else. Bond still drinks his martinis shaken not stirred, still utters his signature "Bond, James Bond," and still sleeps with any gorgeous woman who crosses his path. The only differences are that he has traded in his Aston Martin for a BMW and "M" has experienced a sex change. With Brosnan in the lead role, the Bond series has undergone an unprecedented revival. Both Goldeneye and Tomorrow Never Dies exceeded the magical $100 million mark (the latter doing so while in direct competition with Titanic), and the latest movie (the 19th overall), The World Is Not Enough, stands poised to join them.
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Finally, there's a legitimate challenge to Disney. And, while it's unlikely that Twentieth Century Fox's Anastasia will break the Mouse's stranglehold on animated films, it's a good place to start. Anastasia is easily the best non-Disney animated movie in recent memory, and it is good enough to rival such titles as The Lion King and Aladdin. The key is enjoyability and appeal to both adults and children. This degree of magic and energy has been noticeably absent in movies like Pocahontas, The Hunchback of Notre Dame, and Hercules. Maybe with another studio to push them, Disney will get back on track.
Love comes in many forms -- platonic, romantic, and sexual -- and this is the issue at the heart of Carrington, a cinematic biography of artist Dora Carrington and her near-lover, writer Lytton Strachey. Though Dora, a heterosexual woman who didn't lose her virginity until she was in her twenties, and Strachey, an avowed homosexual, each had an assortment of male bed partners, they were intensely devoted to each other with a passion that was "all absorbing" and "self-abasing". Even without a sexual element, their love was transcendent, majestic, and ultimately tragic, for one could not live without the other.
Like everything else, James Bond (Pierce Brosnan) has had to change for the nineties. The venerable 007, coming off a long hiatus, has taken on his sixth face (the other five being Sean Connery, David Niven, George Lazenby, Roger Moore, and Timothy Dalton), changed his mode of transport from an Aston- Martin to a BMW, and now answers to a female "M" (played dryly by Judi Dench). Bond's attitudes towards women have been modified -- although not greatly. Also, there's more action in Goldeneye than in previous 007 entries -- enough to keep a ninety-minute film moving at a frantic pace. Unfortunately, this movie isn't ninety-minutes long -- it's one-hundred thirty, which means that fully one-quarter of Goldeneye is momentum-killing padding.
My Best Friend's Wedding
My Best Friend's Wedding is the estrogen alternative to the vast quantity of testosterone being pumped out by the other major June releases: Con Air, Speed 2, Batman and Robin, and Face/Off. As the summer's centerpiece romantic comedy, My Best Friend's Wedding boasts a pair of A-line actresses, Julia Roberts and Cameron Diaz, dueling for the affections of the unprepossessing Dermot Mulroney (the guy from Copycat and The Trigger Effect, who is frequently confused with the equally low-key and same-initialed Dylan McDermott). Fortunately, this film doesn't fall into the overcrowded category of the traditional frothy romance. In fact, My Best Friend's Wedding has a bit of an edge and enough intelligence to keep it from drowning in the kind of mawkish sentimentality that often makes this sort of movie hard-to-swallow.
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Alias - Season One
Sydney Bristow (Jennifer Garner) is a super (and super sexy) spy, fighting nefarious villains and working for the good guys--or so she thinks. Recruited as a college freshman for espionage work, Sydney found her true calling with SD-6, a secret division of the CIA. When her hunky doctor-boyfriend proposes to her, she decides to let him in on the truth she's not supposed to tell anyone: she's not a grad student with a demanding job for an international bank, but a secret agent who constantly puts her life on the line for the free world. But when SD-6 discovers her security breach, her fiancé is brutally assassinated, and Sydney suddenly finds herself face-to-face with the truth: she's been working for the bad guys. Deciding to become a double agent for the CIA and bring down the evildoers, Sydney gets one more surprise--her estranged father (Victor Garber) is also working for SD-6, and the CIA as well. Welcome to the family, Syd!
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Inept Salman comes to help his sister-in-law tend to his holy terror nephews while Salmans brother is off fighting in Iraq. Salman must take a humiliating job as a giant blue corporate mascot in order to help make ends meet and hold the family together.
A young Russian foreign exchange student arrives at the home of the vicar of a very proper english village whose residents are more than scandalised when her secret colorful past is suddenly revealed.