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Based on the book The Rite: The Making of a Modern Exorcist by journalist Matt Baglio, the film follows young priest-in-training Michael Kovak (Colin O’Donoghue), who flees a depressing life working at home in his father’s (Rutger Hauer) mortuary business by enrolling in seminary school. However, Michael is not the stalwart man of faith his priest collar would suggest: events of his past have put him at odds with his beliefs, and his theological training has done little to resolve that conflict.
After one seemingly fated moment of divine intervention, Father Matthew (Toby Jones) comes to believe in Michael’s potential to serve God, and so he sends his student off to Rome to enter a new program on exorcism at a school attached to the Vatican.
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Untraceable engenders a reaction that is one part fascination, one part disappointment, and two parts frustration. The film, which has the ingredients for a thoughtful, tense thriller throws away a compelling first half so it can descend into silliness and clichés. For a movie that works overtime to establish credibility during its first half-hour, Untraceable leaves no predictable, formulaic stone unturned in its rush to a jaw-droppingly stupid conclusion. It's almost as if the filmmakers who made the first two acts were replaced by Uwe Boll collaborators for the final 40 minutes. Then again, it's possible to believe this of director Gregory Hoblit, who achieved something not dissimilar with his previous feature, Fracture.
Cairo Time is about yearning and longing. It's about the bond of intimacy that can be generated by a look and expanded upon by a smile. It's about an impossible love that is never spoken of or openly acknowledged. Aside from a fleeting, stolen kiss, there is little physical interaction. This is about two people who respect each other too much to make the other take the risk. The Hollywood ideal is that love conquers all. Cairo Time shows something more real and, if the ending is bittersweet (as we know it must be from the beginning), it is something most viewers will understand.
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"To dream the impossible dream… This is my quest, to follow that star, no matter how hopeless, no matter how far… To reach the unreachable star."
Perhaps no sentiment better expresses what The Astronaut Farmer conveys than those lyrics by Joe Darion from Man of La Mancha. Like many similar inspirational motion pictures, this one requires a high level of suspension of disbelief, but one would expect no less from a modern day fairy tale. Once that hurdle is cleared, The Astronaut Farmer offers dreams, obsession, faith, courage, and redemption. The path from beginning to end is surprisingly non-linear and the film offers a surprise or two (effectively ruined by the tell-all trailer that irons out every plot twist in two minutes of spoilerage). On the whole, The Astronaut Farmer does what the Polish Brothers must have envisioned when they put this movie into development.
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Catch and Release
Catch and Release is a confused, disjointed motion picture that tries to be many things and succeeds in being none. In less than two hours (although it feels considerably longer), writer/director Susannah Grant cobbles together nearly every imaginable plot, element, and device except the kitchen sink (although she manages to get the bathtub in there). Despite possessing a few effective and affecting scenes, Catch and Release is a mess and the methods it uses to bring closure to its diverse storylines feel trite and contrived. Leaving the theater, I was struck with a sense that the movie not only could have been better, but it should have been so.
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Sky Captain and the World of Tomorrow
Sky Captain and the World of Tomorrow is about 70% style and 30% substance. It has a plot and characters, but those are almost beside the point. They are devices that function as hooks upon which first-time director Kerry Conran can hang his amazing visuals. Generally speaking, I'm not a big fan of style-over-substance movies, but this one is so gorgeous that it's possible to become literally lost in the richness of the images. In many ways, that's not a bad thing, because the story isn't exactly airtight.
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With so much talent involved - both in front of and behind the camera - one has a right to anticipate something special from Inside Man. Does it deliver? Spike Lee's latest joint is a workmanlike thriller that provides solid performances; a mixture of comedy, tension, and drama; and an engaging storyline. But there's nothing extraordinary about the movie. It's watchable and occasionally compelling, but it will not stand out as one of 2006's great motion pictures.
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My Super Ex-Girlfriend
After foiling a purse snatcher who tries to steal her purse, Matt (Luke Wilson) starts dating shy stranger Jenny Johnson (Uma Thurman), whom he meets on the subway, thereby becoming Jenny's "hero". After several dates, Jenny displays increasingly neurotic and aggressive behavior, becoming more demanding and ultimately injuring Matt and destroying his bed the first time they have sex. Soon after, Jenny reveals to him that she is in fact the voluptuous blonde superheroine, G-Girl, who accidentally absorbed powers such as flight, superhuman strength and speed, invulnerability, super breath, heat vision, and super senses after she was exposed to radiation from a crashed meteorite as a teenager. Jenny starts to become more controlling after she reveals her powers and Matt starts to lose his mind.
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Korean War in Color
Sandwiched in the history books between the grand drama of World War II and the well-publicised turmoil of the Vietnam War, this was the forgotten war. This programme brings you a war-torn Korea in colour for the first time. Experience the terror, courage, blood and chaos that reigned from 1950 to 1953 as we chronicle a true picture of a horrific war in colour. Much of the footage included has never been seen before by the general public. This unique programme has pulled together recently de-classified footage, personal films and photographs of veterans who lived and breathed the horrors of the front line. In bearing witness to the death and destruction unleashed by both sides, we can understand more clearly the dangers, suffering and heroism that marked the first great confrontation of the Cold War.
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The Haunting of Molly Hartley
The film begins with a teenage girl (Jessica Lowndes) going into the woods to meet her boyfriend. He gives her an early birthday present, but her father shows up and demands that she leave with him. As they drive home she tells him that she will be marrying her boyfriend as soon as she turns eighteen. He breaks down and apologizes to her before crashing their car. Seeing that she is not dead, he kills her with a broken piece of mirror, saying he couldn't let the darkness take her. The film then switches to present day, and Molly's story.
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Sinbad: Where U Been?
Sinbad returns to the stage in this brand-new one-hour comedy special and answers the question his legions of fans have been asking him, Where Ya Bin?
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This movie features the collaborative directorial efforts of four new filmmakers, each of whom directs a segment of this comedy. Its New Years Eve at the Mon Signor Hotel, a former grand old Hollywood hotel, now fallen upon hard times. Often using physical comedy and sight gags, this movie chronicles the slapstick misadventures of Ted, the Bellhop. Hes on his first night on the job, when hes asked to help out a coven of witches in the Honeymoon Suite. Things only get worse when he delivers ice to the wrong room and ends up in a domestic argument at a really bad time. Next, he foolishly agrees to watch a gangsters kids for him while hes away. Finally, he finishes off the night refereeing a ghastly wager.
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Jeffery, a young gay man in New York, decides that sex is too much and decided to become celibate. He immediately meets the man of his dreams and must decide whether or not love is worth the danger of a boyfriend dying.
Amir is a heartbreaker...literally. As a relationship termination specialist, he provides dumping services for disgruntled daters and spends his days delivering the bad news to unsuspecting lovers across Los Angeles. Though Amir claims he is just the messenger, the job makes him cynical and, as a result, the last bachelor in his group of friends. This becomes clear when his recently-engaged best friends tells him he can no longer be his Best Man because of bad relationship karma. When Amir returns to his familys home for Thanksgiving, he is reunited with his long-lost cousin, Zara, who decides to hitch a ride back to LA with him. As a joke, the two cousins pretend to be a couple in front of Amirs friends and their charade comes dangerously close to going too far.
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Eugene Earl Axline is a guard dog trainer who gets involved with one of his clients, Joan Spruance. Spruances sister is a classic airhead, who is spilling all she knows about her gangster boyfriend.
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The story of a group of friends in turn of the century New York, from their early days as street hoods to their rise in the world of organized crime. As their crime empire expands, they have to deal with many problems, including their own differing opinions on how to run their business, the local Godfather, and the psychotic Mad Dog Coll.