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The Invictus team of director Clint Eastwood and star Matt Damon reunite for Hereafter, a supernatural drama penned by The Queen's Peter Morgan. Hereafter follows three separate storylines set in different countries that ultimately dovetail.
In the first one, celebrated French journalist Marie (Cecile de France) survives a natural disaster. Her near-death experience compels her to explore what may or may not happen after we pass on, a quest that threatens her professional standing.
Iron Man 2
Please be advised that this review contains some spoilers. You should be happy to know Iron Man 2 more or less wins its battle with "sequelitis," managing to successfully squeeze a hodgepodge of storylines and characters into one two-hour adventure while still keeping the narrative focus sharply on Tony Stark (played once again with unbridled aplomb by Robert Downey, Jr.). Iron Man 2 doesn't always successfully balance all of these moving parts, but considering how wildly it could have gone off the rails (think Schumacher's Batman sequels), it's a significant and highly entertaining accomplishment on the part of Marvel Studios and director Jon Favreau.
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Armored follows Ty Hackett (Columbus Short), an Iraq war vet who must raise his adolescent brother Jimmy (Andre Jamal Kinney) on his own after their parents die. He gets a job at Eagle Shield Security, the same armored truck company that his dad worked for. His godfather and mentor Mike Cochrane (Matt Dillon) also works there. Faced with mounting bills, foreclosure and the possibility that his kid brother will end up in foster care, Ty becomes a begrudging accomplice in Mike's devious master plan.
The Princess and the Frog
Disney’s 2D animated musicals never wore out their welcome. Some studio buffoon just figured that maybe kids didn’t want singing in their animated films any more. And then that studio buffoon decided that because 3D animated films were succeeding and a recent string of 2D films had flopped that no one wanted hand-drawn animated movies any more. This is why the last Disney 2D animated musical was Mulan in 1998. 11 years later and Disney, with the support of Pixar chief John Lasseter, has brought back hand-drawn musical movies with The Princess and the Frog. But this isn’t a return of Disney animation; it’s a rebirth.
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Vanishing on 7th Street
Making its world premiere at Toronto’s Midnight Madness section – where Anderson previously launched his Christian Bale psychological thriller The Machinist – Vanishing On 7th Street should easily find an audience among fans of apocalyptic thrillers, a genre that has been a staple of recent years, encompassing everything from I Am Legend to The Road. With a small cast that includes Hayden Christensen and Thandie Newton, Vanishing could be a moderate box-office performer for a filmmaker who tends toward niche indie fare.
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Mongolian Death Worm
Films like Steven R. Monroe’s 2010 SyFy original “Mongolian Death Worm” aren’t very difficult to review. It’s pretty simple stuff: You either like it or you don’t. There isn’t anything to dissect, nothing to chew over. In fact, “Mongolian Death Worm” is even easier to grade than other low-budget creature features, as it falls under what I like to call the “Tremors Technique”. Instead of critiquing the picture in a traditional manner, I assess the situation and score it against “Tremors” and its sequels. Since the installments in that series are automatically arranged from best to worst — “Tremors”, of course, being the high water mark — assigning a sequel to a monster movie like “Mongolian Death Worm” is a relatively easy task to accomplish. After all, just about every post-”Tremors” giant worm movie owes at least one thing or another to Ron Underwood’s camp classic.
That’s not to say that “Mongolian Death Worm” can’t stand on its own two legs, because it certainly can. However, it wouldn’t be wise to expect anything remotely original or surprising from Monroe’s by-the-numbers sci-fi flick, especially if you’re well-versed in the “giant worm” subgenre. In fact, the only thing saving this cinematic invertebrate from sinking to the very bottom of the bargain bin is the tongue-in-cheek stupidity of its script and the unflappable Sean Patrick Flannery. The guy plays his part for all its worth, often chewing so much scenery in one take that his head appears ready to split wide open. When you know that he’s is capable of so much more — take a look at “Powder” or “Suicide Kings” if you need confirmation — it makes you appreciate his manic performance in “Mongolian Death Worm” that much more. He straddles that fine line like a pro.
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The Longest Day
For those of you that haven’t shared in this special piece of Hollywood, you’re in for a treat. This film hasn’t only been re-released on special edition videodisc (with features that are something to truly marvel at) but features among the largest casts of greats that I do not think accepts always been agreed. This 1962 classic bids some history-based events (admitting paratroopers being massacred by Nazis as they enter into a dropping zone) that truly stoke the fire as vengeance. Fear not, folks. The Longest Day allows you on vengeance and so some.
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Hamlet 2 (a great title) does not represent the first time in recent years that something unconventional has been done to one of the Bard's classics. (Although, to be sure, no one has been as audacious as to develop a musical sequel to a play.) Scotland, PA re-imagined Macbeth as a modern-day comedy. In A Midwinter's Tale, Kenneth Branagh developed a comedy centered on an amateur production of Hamlet. Years later, Branagh elected to adapt Love's Labour's Lost as a musical, using established standards. Aspects of all these productions can be found in Hamlet 2, not to mention swatches of Mel Brooks' The Producers and Christopher Guest's Waiting for Guffman. Despite the richness of the premise for comic invention, however, Hamlet 2 remains a rather mediocre experience, offering sporadic laughs but never achieving the level of consistent humor necessary to make this memorable.
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Cedar Rapids is a quirky comedy that crossbreeds two common cinematic staples: the mismatched buddy movie and the fish-out-of-water scenario. With elements culled from the mainstream smash The Hangover and the indie cult favorite Napoleon Dynamite, Cedar Rapids is nothing if not versatile. And, although perhaps not as funny as one might expect given the setup, it successfully grows the main characters beyond their stereotype roots. As is the case with almost every effective comedy, this one works because the protagonist becomes more than a walking punch line.
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Death of a President
It has been one of the hottest tickets everywhere in North America where it has been shown. Now, placed in a limited number of U.S. theaters despite the near-solidarity of a chain multiplex ban, the movie is opening less than two weeks before Election Day. That timing, one could argue, is a bigger political point that anything in the content. I'm referring to the pseudo-documentary Death of a President, which has received an inordinate amount of media coverage and has been tagged with the label "controversial." For this movie, as for Snakes on a Plane, the hype dwarfs the reality. Death of a President is celluloid mediocrity. It's neither interesting nor convincing.
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Mr. Brooks is a curious mix of the campy and the intelligent, of high concept and low psychology. In spite of these contradictions, or perhaps because of them, it works. This is a tense and engaging thriller, the kind of movie where the audience may feel a little discomfort because the main character is an anti-hero, but will be involved because he's so damn smart. And unlike the recent (and not entirely dissimilar) Fracture, which built its ending on character assassination and unlikely contrivances, Mr. Brooks stays true to its principals and their principles to the last frame.
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There must be something about the combination of Steve Martin and Nora Ephron that doesn't work. Anyone remember My Blue Heaven? (For that matter, does anyone want to remember My Blue Heaven?) Regardless of how dreadfully unfunny that Martin/Ephron collaboration was (she wrote it; he starred in it), it was only a precursor to Mixed Nuts, as unwatchable a motion picture as you're likely to find this Christmas season.
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Sweet Home Alabama
The film opens on an Alabama beach with two children chasing each other: Melanie Smooter and Jake Perry. The two discuss their future together. They kiss, and Jake says they will be married one day. The scene then moves to the present day. Melanie has changed her last name to Carmichael and is now a successful fashion designer in New York City. After becoming engaged to Andrew, the mayor's son, Melanie announces that she has to go back home alone to Alabama to tell her parents. She has not told Andrew that she is married to Jake.
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Second-term Democratic U.S. President Jackson Evans (Jeff Bridges) must select a new vice president following the sudden death of the current VP. The obvious choice seems to be Virginian Governor Jack Hathaway (William Petersen), who is hailed as a hero after he recently dove into a lake in a failed attempt to save a drowning girl. The president opts not to choose Hathaway, claiming that the administration cannot afford another Chappaquiddick.
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The film is based loosely around events in December 1995 that culminated in the murders of three drug dealers in Rettendon, Essex, UK. On 6th December Patrick Tate, Craig Rolfe and Tony Tucker, three drug dealers well known to the police, were lured to Workhouse Lane, Rettendon. There they were blasted to death with a shot gun while sitting in their Range Rover. They had been lured to their deaths on the pretext of a lucrative drugs deal. The three bodies were found the following morning, 7 December 1995.
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Kaena: The Prophecy
AXIS, a gigantic coiling plant, stretches high above the clouds... At its center is a village whose people are in mortal danger because Axis is withering... its sap is drying up. The people beg their gods for help... but to no avail. Compelled by a mysterious force, Kaena, a rebellious, high-spirited teenage girl will defy the High Priest and her peoples ancestral beliefs to take the perilous journey through the Axis and discover what dark secrets lie beyond the clouds... A dying world, an evil force, a terrible secret...
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