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Year One, directed by Harold Ramis and produced by Judd Apatow, follows Zed (Jack Black) and Oh (Michael Cera), a hapless pair of Paleolithic hunter-gatherers who embark on the world's first road trip. Zed deems himself "Chosen" by God after he eats the forbidden fruit from the Tree of Knowledge. Banished from their primitive tribe, the two embark on a journey to find out what life is all about, encountering several Old Testament figures along the way.
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After wowing us in the skies with “Winged Migration,” the two Jacques (Perrin and Cluzaud) are back to entice us to gaze in the opposite direction. In “Oceans,” Disneynature’s reconstitution of the 2009 French release “Océans,” the filmmakers venture in, on and around our seas to discover photogenic oddities and endangered wonders.
Into the Blue 2. The Reef
I don’t know how to scuba diva. I don’t even own a wet suit, the main reason I had to postpone my plans for participating in some sprint triathlons this year. My brother learned how from the Boy Scouts and he’s one of the few people I know who is dive certified. I wish I could, but I never go anywhere worth diving, so instead I watch movies like this, now ready for you on DVD.
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Big Mommas: Like Father, Like Son
You get two Big Mommas for the price of one in Big Mommas: Like Father, Like Son, where Martin Lawrence’s FBI agent, forever undercover as a girth-challenged woman, passes the torch -- no, make that a fat suit and wig -- to a stepson who joins him in drag. This is not a case of doubling the fun so much as an anxious attempt to revive a franchise running out of gas.
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The Dukes of Hazzard: The Beginning
American Teen, which has captured audience awards and drawn standing ovations at film festivals from coast-to-coast, is the latest example of a growing genre called "DINO" (Documentaries In Name Only). Combining candid footage with staged events, DINO directors assemble everything in the editing room, freely scrambling the chronology and cutting as they see fit. The goal is less to provide a slice of reality than it is to approximate a fictionalized version of that reality. DINOs are the motion picture equivalent of reality television, and American Teen is among the most accomplished to come along yet. In fact, it's so adeptly assembled that it has been picked up by a major distributor (Paramount) with an eye toward opening it in more than just art houses. The target audience isn't the usual "stodgy" crowd but the MTV post-music video generation. This is The Real World on a more ambitious scale.
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Ask the Dust
For Ask the Dust, director Robert Towne, adapting the novel by John Fante, has returned to the time and place of his greatest cinematic endeavor: Los Angeles in the 1930s. The setting, however, is the only similarity between Ask the Dust and Chinatown (which Towne wrote for director Roman Polanski). Despite a "noir" feel to the proceedings, this picture is a love story. There are other things going on, some of which get short shrift in the screenplay, but at the center of the narrative are a man and a woman who are destined for each other. Take away the graphic nudity (full-frontal shots of both stars) and one could almost consider Ask the Dust to be old-fashioned movie making.
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Assault on Precinct 13
What is the world coming to when the film community is remaking John Carpenter movies? Admittedly, Assault on Precinct 13 isn't the best example of Carpenter's expert craftsmanship, but it was the picture that got him noticed, and that notice enabled him to subsequently film Halloween, Escape from New York, and a chilling re-make of The Thing. Nevertheless, in part because of the non-existent budget Carpenter was working with and in part because the original was kind of cheesy, there was room for improvement. The 2005 edition of the film takes advantage of that gap, and the result is an engaging action thriller. The new Assault on Precinct 13 takes Carpenter's idea (which was, in turn, adapted from the 1959 Western, Rio Bravo) and re-imagines it for the 2000s. The result boasts better acting, slicker direction, and less laughable dialogue, all without a noticeable reduction in tension and suspense. Although fans of the original will probably view this statement as heresy, I will admit to liking the 2005 movie better than its 1976 ancestor.
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We Are Marshall
We Are Marshall is precisely what one expects from a true sports story: it's uplifting and inspiring. Although the film does not ascend to the pinnacle of its genre (arguably occupied by Hoosiers), it's not too far down the mountain and the added ingredient of a town's grief allows director McG to explore some issues not normally tackled in this sort of motion picture. We Are Marshall stays surprisingly true to the facts, keeping embellishments to the minimum necessary to make the story cinematic. (The opening caption states "This is a true story" not "This is based on a true story" or "This is inspired by a true story.") As feel-good stories go, this is more successful than some of its higher profile multiplex competition.
On November 14, 1970, a chartered plane crashed just short of an airport in West Virginia. On board were 37 players and six coaches from the Marshall Thundering Herd varsity football team, as well as the school's athletic director and various influential supporters. While many individual high-profile athletes have died over the years as a result of plane crashes (Roberto Clemente, Thurman Munson, Payne Stewart…) , the November 1970 incident marks one of the few times when an accident has wiped out an entire organization. (This has happened to several soccer teams as well as the 1961 U.S. Figure Skating team.)
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Remember when, as a child, you used to fear the monster under the bed or in the closet - how your parents would tell you to go to sleep, that it wasn't real? Monsters, Inc. confirms what every child really knows - the things that go bump in the night have more substance than silly grown ups recognize. Brought to the screen by the marriage of Disney and Pixar, Monsters, Inc. is the fourth computer animated motion picture offspring of this union. Like its older siblings, Toy Story, A Bug's Life, and Toy Story 2, Monsters, Inc. is a triumph of storytelling. Each new movie of this sort raises the bar a little more, and, while Monsters, Inc. doesn't eclipse Dreamworks' Shrek, it comes close.
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Santa Clause 2
The Santa Clause 2 is a worthy successor to the original 1994 film – that is to say, anyone under age 10 will be enchanted; anyone over age 10 will have trouble stifling their boredom. The movie has a laudable quality or two, but overestimating the audience's intelligence is not one of them. Even the so-called "clever" moments of satire (such as the opening segment, in which Santa's workshop must avoid detection from a nearby plane) are too juvenile to be considered suitable for adults.
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Smokin' Aces is Tarantino lite - a vague and unsuccessful attempt to bring together a bunch of offbeat, unrelated characters in a situation where a bloody resolution is inescapable. Like an absentminded chef, however, writer/director Joe Carnahan has gone into this endeavor without the full complement of ingredients, and the missing ones are crucial to the final product's consistency. The characters are uniformly uninteresting - a bunch of ill-defined caricatures who never attain even a semblance of identity. The undercurrent of dark humor is rarely amusing and the screenplay's supposed cleverness is rarely ingenious. The setup takes too long and the resolution is a letdown. The movie demands an attentive audience to follow the diverse characters and plot threads but, in the end, it fails to reward that attention.
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The B-grade genres of sexploitation, blaxploitation, and jailhouse flicks mixed with this grotesque sex- and violence-filled melodrama. Linda Blair stars as Carol Henderson, a nave and inexperienced teenager who is sentenced to 18 months in a women's prison after accidentally killing a man. Once she arrives, Carol meets sadistic, perverted Warden Bacman (John Vernon), who keeps a hot tub in his office.
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Is Harry on the Boat?
A bawdy, ultimately moral tale of hedonisms complications, Is Harry on the Boat? is probably the most memorable film to come out of the culture of young singles holidays on Ibiza. Tour rep Brad (Danny Dyer) is determined to win the informal competition among the male reps to sleep with as many female clients as possible, while his friend Mikey (Des Coleman) is looking for true love. Brad gradually learns responsibility and human concern from the awful examples set by corrupt manageress Alison and self-serving treacherous super-stud Mario. Along the way we get some memorably gross-jokes and one or two moments of rather touching tenderness, as well as a convincing portrait of what people go to Ibiza forloud, large times of music and drunken excess. Dyer is convincing as a young man who learns better from experience and Des Coleman makes Mikey a three-dimensional, soulful romantic with a wicked sense of humour rather than merely Good personified.
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Young and Seductive
A pretty sex researcher is writing a book about sexual liaisons arranged online, but some of her lovely interviewees are turning up strangled to death.
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Jarppi Daredevil, Jukka Showman, Jarno Mastermind, HP Bonebreaker and Britney, their beloved giant pig, are a group of childhood best friends who over the years have solidified their bonds between each other despite all the broken bones, trips to the hospital and near death experiences. From perilous car and motorcycle jumps to indoor bonfires, The Dudesons always manage to turn the mundane realities of everyday life into laughter and occasional pain - where else could you see a human dartboard or a baseball bat wake up call to the balls? The Dudesons Movie is a story of friendship combined with madness.
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