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Do not be fooled by the title. While Monsters features its fair share of creatures over the course of its 97 minute runtime, this is far from your average sci-fi flick. Rather, it's a sweet, small-scale story, set against a backdrop of large-scale alien invasion.
The story starts six years after a NASA probe was sent into space to collect evidence of alien existence. Said probe crashed on re-entry to Earth over Central America, and soon after new life forms began to appear in Mexico. Fearing invasion, much of the country was quarantined, and is now considered the "infected zone."
Part buddy film and part Indiana Jones, director Guy Ritchie's Sherlock Holmes follows the eponymous detective (Robert Downey, Jr. sporting his convincing English accent for the first time since his Oscar-nominated turn as Chaplin) and his partner-in-crime-solving, Dr. John H. Watson (Jude Law), as they help Scotland Yard's Inspector Lestrade (Eddie Marsan) unravel a dastardly plot that threatens to destroy England.
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The Last House on the Left
Horror icon Wes Craven serves as a producer on this remake of his directing debut, The Last House on the Left. Updated and toned down from his disturbing 1972 cult classic, Last House follows the Collingwood family -- dad John (Tony Goldwyn), mom Emma (Monica Potter) and teenage daughter Mari (Sara Paxton) -- who run afoul of a murderous family of outlaws led by the functioning sociopath and escaped fugitive Krug (Garret Dillahunt).
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It should come as no surprise to anyone that The Marine is bad. No, that's not bad as in "bad-ass". If you had high expectations for this film you're either a deluded wrestling fan or you just haven't been paying attention. Spending three seconds with the movie's trailer should have been enough to warn you off. What is surprising is that The Marine isn't epically bad, it's not a stinker of mammoth proportions. It's merely crappy and all the credit for that should go to Robert Patrick and his gang of wacky villains. More on that in a minute.
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Brian Kessler, a journalist researching serial killers, and his photographer girlfriend Carrie set out on a cross-country tour of the sites of the killings. Sharing the ride and their expenses are Early Grayce, a paroled white trash criminal, and his girlfriend Adele. As the trip progresses, Early begins to appear more and more unstable, and Brian and Carrie begin to fear that they may have a real-life killer in the back seat of their car.
Life During Wartime
In 1998, Todd Solondz's Happiness became one of the most talked-about and controversial indie films of the year - a black comedy that ventured into David Lynch territory to expose the rot underlying the placid exterior of suburbia. At the time, Happiness was cited as a breakthrough for the reclusive Solondz but, over the course of the next decade, his career has stalled. During the '00s, he made only two movies - the poorly focused Storytelling and the gimmicky Palindromes. Life During Wartime, a direct sequel to Happiness, feels like the attempt of a once-promising filmmaker to recapture some old magic. Thematically, the movie covers the same ground furrowed by its predecessor. Shorter in length and with fewer richly-drawn characters, Life During Wartime relies on uncomfortable black humor and moments of sincere drama to involve viewers. But everything is encased in artifice and the movie becomes a chore to take in.
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There was a time when David Lynch made coherent, challenging motion pictures. Love it or hate it, there's no doubt that Blue Velvet was one of the most talked-about motion pictures of the 1980s. Some consider it to be a masterpiece, while others view it as exploitative trash. Nevertheless, at least the narrative makes sense. The script requires the viewer to pay attention, but everything ties together in a sensible manner. Something similar could be said about Lynch's next outing, Wild at Heart. It's a little more out there, but still not totally outrageous. Next came "Twin Peaks", the television series that started out as one of the most compelling hour-long dramas ever to air on a network before devolving into silliness. Lost Highway followed on the heels of Twin Peaks: Fire Walk With Me, with neither picture telling a linear or comprehensible story. The Straight Story seemed to put Lynch on a different course, but, with Mulholland Drive, the filmmaker is back to his old tricks.
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Star Wars Episode II: Attack of the Clones
Middle episodes in trilogies have the potential to be fundamentally dissatisfying. Thankfully, George Lucas has managed to avoid that pitfall for Episode II of the Star Wars saga, Attack of the Clones. Admittedly, the primary purpose of this film is to advance the overall story, bridging the gap between the lightweight, heroic antics of The Phantom Menace and the overwhelming darkness of the as-yet unnamed Episode III. Attack of the Clones has a starting point and a stopping point, but no true beginning or end. And it also shares elements in common with Lucas' earlier Star Wars middle episode, The Empire Strikes Back.
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War of the Roses
When it comes to dark satires of the romantic comedy genre, few films are more vicious than Danny DeVito's 1989 offering, The War of the Roses. The film revels in its blackness in a way that few films during the last several decades have; even that celebration of misanthropy, Bad Santa, offers a morsel of light at the end of the tunnel. Here, to quote Dante, it's "all hope abandon ye who enter here." As the story wends ever into a labyrinth of increasingly more absurd incidents, one can't but admire a filmmaker who doesn't feel the need to soften things to make his product more "accessible."
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In the Line of Fire
In 1963, Frank Horrigan was among the "best and brightest" of the Secret Service, the personal choice of President Kennedy. On November 22 in Dallas, an afternoon that Horrigan will never forget, he became one of the few living agents to lose a president. Now, decades later and only months before a presidential election (perhaps 1992 or 1996 - we're never told exactly), Mitch Leary (John Malkovich) is stalking the President. Believing there to be an intangible bond between himself and Horrigan (he says they were both betrayed by a government they had once loved), Leary makes contact with the Secret Service agent to discuss his intentions. Following his conversation with the potential killer, Horrigan acts quickly to get himself posted to protection duty. This time, he has no intention of failing and believes that, given the opportunity, he will take the bullet. But Leary has everything on his side -- time, opportunity, and a group of pig-headed behind-the-scenes men at the White House who refuse to alter the President's itinerary no matter how grave the apparent danger is. And, as the election draws closer, Horrigan's chances of averting a second tragedy seem progressively less likely.
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IN ''The Exterminator,'' which opened yesterday at the National and other theaters, the title character metes out rough justice to loathsome characters. He ties up the gang punks who crippled his Vietnam buddy in an abandoned tenement for the rats to eat. A Mafia don who preys on the wholesale meat trade is lowered slowly into a jumbo hamburger grinder. A procurer of young boys for homosexuals is soaked with lighter fluid and set afire.
You've seen the good man taking the law into his own hands before. Charles Bronson did it in ''Death Wish'' and Clint Eastwood did it in ''Dirty Harry.'' Those films look like high art in comparison with this one. Even connoisseurs of violence will be disappointed in ''The Exterminator'' since its grisly events are not actually shown on screen.
The leading performers - Robert Ginty in the title role, Christopher George as a detective and Samantha Eggar as a physician - are undone by the screenplay and direction of a beginner named James Glickenhaus and by lighting, camera work and sound that would rate an ''F'' at film school.
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At the BNS headquarters, BNS Special Agent Alex Scott (Owen Wilson) is accosted by his rival, Carlos (Gary Cole), before being debriefed on his next mission. Scott is assigned to recover a stolen fighter plane sold to arms dealer Arnold Gundars (Malcolm McDowell). The plane is known as the "Switchblade" and is invisible to both radar and the naked eye. The BNS learns that Gundars is sponsoring Middleweight world boxing champion Kelly Robinson (Eddie Murphy)'s next match, and is using the event to auction off the plane. The agency has contacted Robinson and assigned him to be the civilian cover for Scott's mission. Scott and Robinson travel to Budapest, where Scott plans to penetrate Gundars' compound during a pre-fight party taking place that night. The duo clashes from the beginning, with Robinson treating Scott as a new member of his entourage. Robinson is initially wary of Scott's penetration plan, but is convinced after Scott frightens Robinson while maneuvering the plane and gives Robinson a pair of contacts that allow Robinson to see whatever Scott sees.
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Donald Sinclair, the eccentric owner of The Venetian Resort Hotel Casino in Las Vegas, devises a new game to entertain the high rollers who visit his hotel. Six special tokens are placed in the casino's slot machines, and the winners of them are gathered together and told that two million dollars in cash is hidden in a duffel bag in a train station locker in Silver City, New Mexico. They are told they must compete in a no-holds-barred race to get there first and claim the money. Each winner is given a key that will open the locker and they are sent on their way. What they do not know is that Sinclair's wealthy patrons are placing bets on who will win the race.
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Ma Jun, a cop known for dispensing justice during arrests, teams with Hua Sheng, whos undercover, to try to bring down three merciless Vietnamese brothers running a smuggling ring in the months before the mainlands takeover of Hong Kong. The eldest, Xian Wei Cha (called Zah), is arrested in an operation that exposes Sheng and almost gets him killed. His girlfriend, Qiu Di, whos been unaware of Shengs profession, wants to see him quit. Jun pursues the gang tirelessly, sometimes ignoring police protocols. Zahs trial approaches, witnesses are in danger, and a showdown is inevitable.
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When a crusading chairperson of the military budget committee pressures the would be Navy secretary to begin full gender integration of the service, he offers the chance for a test case for a female trainee in the elite Navy SEALS commando force. Lt. Jordan ONiel is given the assignment, but no one expects her to succeed in an inhumanly punishing regime that has a standard 60 dropout rate for men. However, ONiel is determined to prove everyone wrong.
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Vada Sultenfuss is obsessed with death. Her mother is dead, and her father runs a funeral parlor. She is also in love with her English teacher, and joins a poetry class over the summer just to impress him. Thomas J., her best friend, is allergic to everything, and sticks with Vada despite her hangups. When Vadas father hires Shelly, a makeup expert, in his funeral parlor, and begins to fall in love with her, Vada is outraged and does everything in her power to split them up.
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