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"Click" is a very interesting movie, telling the story of Michael Newman, a workaholic arhitect, who one day finds a remote controller with which he can control time. He can pause it, skip some boring moments, jump further in his life and even view past moments from it. The things begin to go wrong as the remote controller takes over his life.
Ernie Davis was the first African-American to win the Heisman Trophy. His number is retired by the Cleveland Browns, and heís a member of the College Football Hall Of Fame. Now, heís the recipient of his very own aggressively passable biopic. You can go ahead and order those achievements in any way you see fit.
The latest in a long series of black people breaking down barriers in a new field films, The Express is a B-movie barbeque sauce of been-there-done-that retreads. It borrows from and binges on better motion pictures like Remember the Titans; then again, all that clichéd rehashing isnít necessarily a bad thing. Just because I love a delicately-cooked, rare filet mignon doesnít mean a bacon cheeseburger from Wendyís canít effectively seduce me at one in the morning on a Tuesday.
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It's still an open question whether in this day of increased concerns about alcoholism and health you can do a remake of 1981's Arthur, a comedy about a lovable drunk, because the new Arthur, with Russell Brand playing the Dudley Moore role, is a mere burlesque riffing off the old Arthur rather than an actual remake that has reconceived or rethought the original film.
Throw away all your history books, Jerry Bruckheimer's in town. This is the Hollywood version of the legend of King Arthur and his Knights of the Round Table, the one filled with macho dialogue, elaborately staged fight scenes, impossibly good looking heroes and ugly villains. Having made pirates hip again (not to mention lucrative), the producer noted for adding new meaning to the phrase 'over the top' has delved further back in time for inspiration and the chance to rewrite the past with a little more pizzazz.
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Man of the House
The men in black at Columbia Pictures made the right decision when they elected not to screen Man of the House for critics. The film fails in so many ways that it's impossible to imagine it getting more than a handful of positive reviews; all but the most fawning quote whores might consider withholding praise. The movie is an "action comedy" in name only - there's nothing in Man of the House that could be considered funny or exciting. 90 minutes with a few routine chase sequences but without a single laugh represents a poor way to spend a looooooong evening.
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Pirates of the Caribbean: On Stranger Tides
The fourth Pirates of the Caribbean movie represents a perfect encapsulation of what the summer sequel tent-pole has become: a half-baked casserole of recycled elements from past installments of the franchise tossed together with lackluster action sequences (inspired by or designed for video games) and gratuitous special effects. The screenplay, credited to Ted Elliott & Terry Rossio, is little more than a clothesline from which to dangle all of the obligatory set pieces. This is one script that could have been assembled using a computer. Had that been the case, however, the result wouldn't have been as long-winded. The basic story is simple; it's something of a wonder how much endless exposition and tedious dialogue Elliott & Rossio cram into the film's bulging 137 minutes.
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The Bourne Supremacy is a serviceable thriller - no more, no less. This may come as a disappointment to those anticipating something on the same level as the surprise hit 2002 movie, The Bourne Identity. Sadly, the cinematic second installment of Robert Ludlum's trilogy falls short of its predecessor in almost every area, except perhaps acting. There's nothing wrong with any of the performances in this movie; it's just that the actors aren't as important as they were two years ago. Action has moved to the fore, shouldering aside plot and character development in order to maintain the frantic pace that director Paul Greengrass believes is necessary to retain his audience's attention.
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Criminal is an English-language remake of the little-known (at least in these parts) Nine Queens, a 2000 film from Fabian Bielinsky. First-time director Gregory Jacobs and his co-writer, "Sam Lowry" (actually a pseudonym for Steven Soderbergh), have streamlined the movie for American audiences, quickening the pace and eliminating a few of the complexities. At the same time, they have left some scenes virtually unchanged. The result isn't as compelling as Nine Queens, but it's a respectable caper movie in the tradition of The Sting and David Mamet's Heist.
Men in Black
Have you ever seen a tabloid headline like this: "Woman gives birth to son of six-headed alien"? Men in Black, the new science fiction comedy from cinematographer-turned-director Barry Sonnenfeld (Get Shorty), postulates that such stories are not the result of fertile imaginations, but accurate representations of the truth. You see, ever since the 1960s, Earth has become an intergalactic hideout for aliens in need of a place to lie low for a while. Currently, there are over 1500 visitors, most in New York City (based on personal experience, that number may be low), and their ranks include such high-profile names as Sylvester Stallone (he obviously had trouble mastering the language), Newt Gengrich (guess what he looks like in his natural form), and Dennis Rodman (who knew?).
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Much Ado About Nothing
Much Ado about Nothing is Kenneth Branagh's adaptation of one of Shakespeare's better-known comedies. Centered around two romances - Hero (Kate Beckinsale) and Claudio (Robert Sean Leonard), and Benedick (Kenneth Branagh) and Beatrice (Emma Thompson) - the story follows these very different courtships. For Hero and Claudio, it's love at first sight and, as with any immediate attraction, they have a lot to learn about each other. Beatrice and Benedick, on the other hand, have known each other for quite some time and it takes a little none-too-subtle prodding from their friends to help them realize and admit their feelings.
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Price above Rubies
A Price Above Rubies is writer/director Boaz Yakin's follow-up to his highly-regarded, tautly-paced 1994 picture, Fresh. Sadly, little of the energy and intelligence of the earlier film is evident in this, an overwrought melodrama populated by stereotypes and featuring an improbable storyline that relies upon a string of coincidences. Ostensibly, A Price Above Rubies details the struggle of one woman to throw off the shackles of a conservative society, but the manner in which Yakin approaches this theme is preachy, pedantic, and predictable.
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The original The Haunting, a low-budget 1963 haunted house film from director Robert Wise, is a chilling little movie that offers a primer in scaring audiences without graphic bloodshed. It's a lesson that has largely been ignored by filmmakers over the past two decades, at least until the arrival of this summer's The Blair Witch Project, one of the most innovative horror films in a long time. Now, along comes a remake of The Haunting, this time helmed by Jan de Bont (Speed, Twister), a director who doesn't known the meaning of subtlety. He makes the fatal mistake of showing and telling too much (although he keeps the blood-and-gore quotient low), transforming his movie's final half-hour into an unintentionally hilarious self-parody.
Midnight Express is a harrowing tale of a nave American caught in a nightmare of his own making thousands of miles from his home. Billy Hayes (Brad Davis) is an American tourist visiting Turkey with his girlfriend Susan (Irene Miracle) when he's caught by customs officials trying to smuggle a large amount of hashish out of the country. The crime would normally carry a sentence of four years, but officials decide to make an example of Billy, and he draws a 30-year sentence despite the promises of his Turkish legal counsel.
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House of Fears
The movie opens with a man and a woman arriving at a digging site somewhere in Africa. The man enters a nearby cave, and finds all the workers brutally murdered, while the woman discovers a monkey statue. As the pair flee the scene, the woman takes the statue with her.
In Oregon, America a security guard, Hamadi (Kelvin Clayton) arrives at 'The House of Fears' with his guard dog. Entering the haunted house, Hamadi finds a box containing the monkey statue. He senses something is wrong, but is attacked by his dog before he can leave.
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The Man Who Knew Too Little
An American gets a ticket for an audience participation game in London, then gets involved in a case of mistaken identity. As an international plot unravels around him, he thinks its all part of the act.
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Dr. Dempsey, an American scientist who has become a skeptic after a disastrous wrong call, isnt exactly enthusiastic to be sent by his well-funded employer to Scotland to (dis)prove the existence of the Loch Ness monster, but has no choice. He finds the locals stubborn, primitive and all but hospitable, not in the least because the Nessie legend is the only tourist attraction, but still gets romantically attracted by his independent inn-keeper Laura, and both her kid and his enthusiastic local assistant end up making him face a small family of Nessie-dinosaurs, but is this to be made public?
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