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Richard Matheson's original short story, "Button, Button," was a nifty little morality tale about a couple faced with a peculiar opportunity -- if they push a button in a box, they'll get a sum of money but kill a stranger in doing so. That version of the story ended with the wife pushing the button and killing her husband, a man she didn't really know. As an episode of "The Twilight Zone" in 1986, the story ended with the couple paid off and assured that the device would then go to another couple to whom they qualify as strangers. Now, Richard Kelly's The Box takes that same basic premise and spins it into a mind-bender of the most baffling degree, starting out as another "Twilight Zone"-worthy variant but eventually reaching the outer limits of both patience and reason.
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The advertising promises "You won't believe how it ends," but the problem with Saw V isn't so much its ending, it's everything that comes before. Oddly toothless, the entire flick feels like it exists solely as preamble for Saw VI. The greatest tension I felt was waiting for the movie to begin. I kept waiting, and waiting, and waiting, and then the end credits began to roll and I realized the movie had, in fact, ended. As one of the characters says, "Fool me once, shame on you. Fool me twice, shame on me."
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I think I could forgive the endless remaking J-horror flicks if any of them were made decently. Genre fans keep telling me how “this movie” is so good and the remake has a lot of potential. Few of them live up to that potential. Even with decent acting and an interesting, if not overdone, concept, Shutter is another remake that fails to live up to what I’ve heard about the original, and has a good chance of leaving the audience yawning throughout.
It’s a shame that Jane Austen wasn’t around to write the not-quite-autobiographical movie Becoming Jane, or it might have been filled with the charming insights she injected into her novels. What made the sharp-witted author so brilliant and timeless is strangely absent here; instead, we’re served up another bland, passionless costume drama as stuffy and oxygen-depriving as its corsets.
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The first thing nearly everyone says about Disturbia when they see the trailers is “hey that looks like Rear Window”. The comparison is unavoidable. Rear Window is Hitchcock, and thus the high water mark in peeping tom thrillers. Disturbia star Shia LaBeouf has defended his film against those comparisons by pointing out that there’s room for more than one film in the genre, and he’s right, assuming that his film can bring something new to the table. In fact beyond the surface similarities of a guy sitting at a window with binoculars scoping out a possible killer across the fence, Rear Window and Disturbia really aren’t all that similar. Actually, if you want to compare Disturbia to something, it’s almost exactly like the Tom Hanks comedy The 'Burbs, only without any attempt to be funny and with a bunch of annoying, too-perfect teenagers. It’s like someone took The 'Burbs and cross-bred it with the career of Freddie Prinze Jr. In case you’re wondering, that’s not a good thing. That stuff in the back of your throat is bile. This is the spot where you’re supposed to gag.
The quality and quantity of Israeli movie exports have increased significantly in recent years. Most of those features, while well-made, tend to be serious - not surprising considering the volatile situation those living there find themselves in. For that reason, The Band's Visit, the directorial debut of Erin Kolirin, is a welcome surprise. A drama about isolation and communication, The Band's Visit is characterized both by strongly delineated characters and low-key comedy. The movie is not lightweight but it is at times lighthearted.
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As appealing as Alicia Silverstone is (and she possesses that ethereal "star quality" which is sadly lacking in many of today's up-and-coming performers), her presence can't quite elevate this breezy comedy to the level of a modern classic. A contemporary reworking of Jane Austen's Emma that is part pop satire and part teen comedy, Clueless shows its unevenness early, overcomes some flaws through vivacity and likability, then runs out of steam during the second half. Better than, but still similar in tone to The Brady Bunch Movie, this film contains its share of delightful scenes, but it's debatable whether there are enough to justify a feature-length running time. Charm this thin starts to wear off before the running length has expired.
Another summer, another double-dip of disaster dramas. This time around, instead of volcanoes, it's comets. The films in question, Mimi Leder's Deep Impact and Michael Bay's Armageddon, are separated by two months, so the first should have a chance to run its course before the second reaches the screen. (More likely, the first will get squashed by Godzilla.) The movies, while utilizing similar premises (big piece of space debris on collision course with our beloved planet), have fundamentally different slants. Deep Impact focuses more on the Earth-based sitting ducks than on the would-be astronaut heroes. Armageddon sends Bruce Willis into space to kick asteroid. (Armageddon is not near the top of my "must see" list -- after Mercury Rising, I've had enough of Willis for the year.)
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Robert Downey, Sr. is an original American independent film maker. He has been at his craft for more than 30 years now -- his debut, Chafed Elbows, came out in 1965. His best known work, the trilogy of Putney Swope, Pound, and Greaser's Palace, was released between 1969 and 1972. Downey has always taken his own road, never worrying about or giving into commercial pressure. When asked by the producer of one of his films whether it would make money, he replied "Not a dime."
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Rosewood, central Florida, 1923. The town's population numbered about 120, mostly black. It was a prosperous, happy community until a January day when one woman's lie set off a chain of events that would have devastating results. That woman was Fanny Taylor, and her false claim to have been assaulted by a black man resulted in the formation of a lynch mob that headed for Rosewood with arson and murder on their minds. Before the week was over, blood was shed and the town was in ashes.
Resident Evil: Extinction
Alice (Milla Jovovich) awakens in the shower of what looks like a hotel suite, wondering where she is. She gets up and puts on some clothes, then ventures out of the door and into the corridor, but no sooner has she begun investigating her surroundings than she is under attack from a selection of deadly traps such as a grid of cutting lasers and a huge blade that nearly slices her in half. Just as she thinks she will escape from an apparent laboratory, a small robot leaps up and shoots her dead - then three figures appear, the leader telling the others to take a blood sample, then dump her body with the rest...
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The Conclave is a courtroom style drama that takes place in Rome in 1458, five years after the fall of Constantinople to Islam. It follows the story of twenty-seven-year-old Cardinal Rodrigo Borgia as he fights to save both his career and his life in his first papal conclave.
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Controls Anton Corbijn gives the crime film a distinctly European twist in this understated thriller (think The Day of the Jackal). A trim George Clooney plays Jack, a hit man who relocates from Sweden to Italy after assailants try to take his life. Jacks handler (Johan Leysen) advises him not to make any friends, which proves easier said than done. Ensconced in medieval Abruzzo, the assassin passes himself off as a photographer (in Martin Booths novel, A Very Private Gentleman, he claimed to be an illustrator), but hes actually customizing an assault rifle for Mathilde (Thekla Reuten), his female counterpart. Upon his excursions through town, Jack meets Father Benedetto (Paolo Bonacelli), who senses he has something to confess--A priest sees everything, he explains--but Jack would prefer to share a brandy. He also befriends Clara, a prostitute (Violante Placido, perfectly comfortable with onscreen nudity). What starts out as a sexual relationship deepens as Jacks sensitive side--he has a thing for butterflies--emerges, but then the Swedes discover his hiding place, and Jack develops doubts about his lady friends, leading to a showdown that plays like a scene from an old Western, a debt Corbijn acknowledges when Jack chances upon a broadcast of Once upon a Time in the West. If the conclusion doesnt cut as deep as the director intends, his admirable restraint throughout keeps the tension at a low boil, while Clooney tamps down his charisma to play a dogged professional with redemption on his mind. DVD Quality PC, Mac, PS3 and XBOX 360 COMPATIBLE
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Husbands and Lovers
Stefan finds that he can no longer tolerate the arrangement of his cheating wife ... he, the husband, gets her during the week and her lover gets her on the weekends. At the same time the wife finds herself increasingly drawn to the violence of her lover versus the adoration of her husband.
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I Love Trouble
Shes green and eager. Hes seasoned and jaded. Theyre reporters for rival Chicago newspapers assigned to cover the same story. He offers tips and advice she scoops him. Then, their snappy patter, repartee, and ripostes get romantic even as their competitive juices overflow. Will corrupt scientists at a chemical company whose goats give cancer-causing milk kill the cub and the columnist, or will they escape with their lives and their by-lines to hear wedding bells?
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Not Another Not Another Movie
In this non- stop hilarious ride we follow a struggling Movie Studio that is willing to do anything to make a buck even if it means ruining its reputation, and running the Movie Industry into the ground. This film has everything that an audience wants from a LAUGH OUT LOUD COMEDY by taking a no-holds barred attack on the Spoof Genre from Blockbuster Action movies to Dramas and Documentaries to Popular Television shows.
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