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Based on Cormac McCarthy's award-winning novel, The Road offers a non-stylized look at a post-apocalyptic future through the eyes of a father and son struggling to survive. With less straightforward narrative than McCarthy's last successful film adaptation, No Country for Old Men, The Road is something of a tone poem, tracing the relationship between father and son as they journey through a lifeless wasteland toward an ocean which may, or may not, hold some hope of salvation.
It's the kind of simple – almost too-simple – tale that demands a strong emotional bond between the two main characters if it's to have any hope of succeeding, and to the film's credit, actor Viggo Mortensen and newcomer Kodi Smit-McPhee play remarkably well off one another. There's a palpable feeling of desperation to Mortensen's performance and one can feel the constant drive to press forward into an uncertain future with only the vaguest of prayers that he might be able to carve out some better life for the boy. There's a feeling of uselessness that hangs around the father's neck. He keeps an emotional distance from his son, certain that he's not much longer to live and determined to toughen up the boy to live in this new and violent world. Alternately, one can clearly see the affection and sizable admiration that the boy holds for his father, pleading for a love that becomes lost in a father's duty to arm his child against a world without rules or moral boundaries.
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The Open Road
The Open Road writer-director Mike Meredith must have pictures of Jeff Bridges, Justin Timberlake, Ted Danson, Mary Steenburgen, Harry Dean Stanton, and Lyle Lovett committing horrible crimes against small children or adorable woodland creatures. How else to explain their participation in a sleepy little nothing of a comedy-drama about an estranged father and son learning that it’s all about the journey, not the destination, man, during a perversely uneventful road trip? A more likely explanation is that the rest of the cast was eager to work with the great Jeff Bridges, a dependable veteran who brings his trademark laid-back charisma to the role of a legendary retired ballplayer and half-assed father who tries mightily to bond with a petulant son immune to his cornball charm.
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Going the Distance
The long-distance relationship is a fact of life for many couples, especially at a time of high unemployment and economic anxiety.
“Going the Distance,” which unites its young lovers briefly in New York City before sending one of them out to San Francisco, acknowledges both the difficulty and the comic potential of the arrangement, and does so with enough insight and charm to make you wonder why frequent-flier love is not a more popular theme in romantic comedies.
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Evening, based on the 1998 bestseller by Susan Minot, is an example of a well-told familiar story. There are no surprises during the course of the film, which transpires across two time frames (1954 and 1998), but the strength of the screenplay and acting provide a satisfying, although not overwhelming, two hours of romance, drama, and tragedy. Longtime cinematographer-turned-director Lajos Koltai has fashioned the movie in such a way that it feels literate. Everything from the cinematography to the editing to the score has been calculated to remind us that this is an example of literature come to life on the screen. Those in search of traditional summertime fare need not apply.
5x2 is a departure for François Ozon, at least from his recent films. This is a simpler, more basic story than Swimming Pool or Under the Sand, and does not star either Charlotte Rampling or Ludivine Sagnier. Throughout his career, Ozon has delighted in switching genres and tones from film-to-film. He has done everything from dark, psychological thrillers to jaunty musicals. 5x2 takes him in yet another direction: the romantic drama. And it's another winner, at least for those who appreciate this sort of adult material and the unhurried pace applied by the director.
Raise Your Voice
Hilary Duff is cashing in on her star power and has had five movies released over the last 18 months. This time out, Hilary stars as Terri Fletcher, a 16 year old small town aspiring musician and dedicated daughter. Her big dream is to head off to Los Angeles for a summer at the foremost music conservatory in the United States. Unfortunately for her, her father (David Keith) is against the idea.
Raise Your Voice starts off with a music video. A choppy, truncated, and frenetic montage of clips, foreshadowing the majority of the rest of the movie. The first third of the film is setting up for Terri's inevitable trip to LA, and it is excruciatingly slow. There is a good plot twist that comes on unexpectedly which sets up for some good conflict later in the film. It is the turning point in the glacial pace of the movie, but you still must endure the incomplete songs and MTV video edits.
It is understandable that a movie about a girl going to a music school would have plenty of music in it. However, other than a couple well handled performances at the end of the movie, the majority of the music takes the viewer outside of the film and terribly disrupts the pacing. To add to the music problems, most of the songs are cut and pasted in an incomplete fashion and are abandoned just as they start to become interesting on their own.
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Crossing Over is Wayne Kramer's Crash-inspired look at the world of immigration in Southern California. Like Paul Haggis' Oscar winning film, this one is replete with coincidences and contrivances but, unlike Crash, it also features too many instances in which the message overshadows the characters. The storylines are less compelling and there are times (such as one instance in which the action pauses for a lengthy homily) when the movie seems more concerned about advancing a political perspective than telling a story; The Visitor made many of the same points in a more organic fashion. Enough things in Crossing Over work to keep the film from becoming a bore, but this is a definite step down from Kramer's past efforts, The Cooler and Running Scared.
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Lives of Others
It's no secret that some of the most powerful dramas are those that depict character transformations. Such is the case with The Lives of Others, the stirring and affecting feature debut of German filmmaker Florian Henckel von Donnersmarck. With a deft hand, von Donnersmarck engages us in the life of a cold, dispassionate character then takes us on a journey that transforms him from detached observer to involved partisan. The film is careful to avoid overt melodrama but, at the same time, it engages the emotions. Perhaps the most remarkable aspect of the movie is the complexity and intelligence evident in the screenplay, which offers multiple valid interpretations for certain actions but never insults the audience by insisting upon one. A contender for the 2007 Best Foreign Language Film Oscar and major player in European and Film Festival awards, The Lives of Others is deserving of the accolades it has thus far obtained.
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Introducing the Dwights
Introducing the Dwights is a coming of age story that (thankfully) doesn't play coy with issues of sexuality. The film, from Australian director Cherie Nowlan, doesn't always move smoothly (it has a tendency to jump around a little, especially in the early going) and it avoids overt heartstring tweaking. It's about a young man whose identity has been shaped and his manhood emasculated by this toxic mother, and how finding someone new to care about gives him the strength to cut the apron strings. While the material may not be new, its handling is fresh and honest and the lead performances are top notch.
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Raiders of the Lost Ark
Spoilers Ahoy!: The assumption is that everyone reading this review has seen Raiders of the Lost Ark. The review discusses in frank detail things about the ending, so, if you haven't seen the film and don't want its secrets spoiled, watch the movie before reading this review.
Despite what the DVD marketeers are currently claiming, the title of this movie was, is, and always shall be Raiders of the Lost Ark, not Indiana Jones and the Raiders of the Lost Ark. There are times when revisionism can be taken too far, and this is one of those instances. I don't need all of my Indiana Jones titles next to each other in my DVD library. I'm perfectly capable of going to the "R" section for Raiders rather than having it alongside the sequels, Indiana Jones and the Temple of Doom and Indiana Jones and the Last Crusade.
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Georgia Byrd (Queen Latifah), an employee in the cookware department at Kragen's Department Store in New Orleans, is a shy, unassuming woman who longs to cook professionally, and who records her dreams of a better life in a journal labeled "Possibilities." It is the Christmas holiday season. While flirting with a co-worker Sean Williams (LL Cool J), she bumps her head on a cabinet door and is taken to the store's health center for a CAT scan. There she is told by company physician Dr. Gupta (Ranjit Chowdhry) she has several brain tumors resulting from a rare neurological disorder called Lampington's Disease. Since her HMO plan will not cover the exorbitant cost of an operation, Georgia resigns herself to the fact she has only a few weeks to live, quits her job, liquidates her assets, and sets off on a dream vacation at the deluxe Grandhotel Pupp in the spa city of Karlovy Vary in the Czech Republic.
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When Dougs father, an Air Force Pilot, is shot down by MiGs belonging to a radical Middle Eastern state, no one seems able to get him out. Doug finds Chappy, an Air Force Colonel who is intrigued by the idea of sending in two fighters piloted by himself and Doug to rescue Dougs father after bombing the MiG base. Their only problems Borrowing two fighters, getting them from California to the Mediteranean without anyone noticing, and Dougs inability to hit anything unless he has music playing. Then come the minor problems of the states air defenses.
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Babylon 5: The River of Souls
Captain Lochley now has solid proof that Garibaldi is a disaster magnet when he comes to the station to meet with one of his new companys subordinates, shes being sued by the owner of an illegal virtual reality holo-brothel and besieged by Soul Hunters looking for one of their soul vessels, this one containing the souls of the long-lost Ralga alien species.
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From the biggest festival to the smallest church social, Kenny Smyth delivers porta-loos to them all. Ignored and unappreciated, he is one of the cogs in societys machinery a knight in shining overalls taking care of business with his faithful Splashdown crew. Follow Kenny as he tackles every septic challenge that comes his way, culminating in a pilgrimage to that Mecca of waste management, the International Pumper and Cleaner Expo in Nashville Tennessee - or as Kenny affectionately calls it, Poo HQ. With fly-on-the-wall honesty and wit, KENNY lifts the lid on one of Australias roughest diamonds as he juggles family tensions, fatherhood and sewage with charm, humour and unflinching dignity. It takes a certain kind of person to do what I do... No-ones ever impressed no-ones ever fascinated... If youre a fireman, all the kids will want to jump on the back of the truck and follow you to a fire. Theres going to be no kids willing to do that with me. So, I dont do it to impress people - its a job, its my trade, and I actually think Im pretty good at it. - Kenny Smyth Part philosopher, part comedian and all heart, KENNY is living proof that in sewage, like life, the best will always rise to the top.
Madly in Love
Devan, ein in der Schweiz aufgewachsener Tamile, will dem Wunsch seines Vaters, Raja, gerecht werden und eine arrangierte Heirat eingehen. Doch vor der traditionellen Hochzeit verliebt er sich unsterblich in eine Europerin, Leo.
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Must Love Death
Disappointed by love, suicidal Norman arranges to meet some like-minded people. But when he arrives at the meeting the alleged suicides turn out to be unscrupulous killers looking for a willing victim. A comical and macabre fight against death begins.
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