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It would seem that with Gamer, Surrogates and Avatar all debuting this year, Hollywood has unconsciously decided to release its cinematic meditations on user-controlled vessels in ascending order of quality and thoughtfulness. Following on the heels of the recklessly subpar Gamer, Surrogates raises the concept of a world in which humans can remotely manipulate synthetic versions of themselves – young, athletic, beautiful, strong and incapable of feeling pain – to a basic level of writing and execution. Where one can imagine that James Cameron's Avatar will considerably elevate the level of scale and character, Surrogates takes a rather mid-level, pot-boiler approach to the genre.
There are two things that the British do better than anyone else in the world, insofar as TV and films are concerned, the first is nature documentaries (David Attenborough is king), and the second is lavish, period based entertainment, be they Elizabethan, Victorian, Edwardian, or in the case of Ironclad, medieval. It’s the reveling in detail that makes the difference, in costume, in environment, and it is indeed this attention to detail that supplies one of the three reasons why it is worth giving Ironclad a look.
I have something of a personal rule about horror movies, developed over the ages of my horror movie expertise. Basically, any movie that depends heavily on pentagrams, either as part of the box art or within the movie itself, is going to be an incredible exercise in misery.
Here on Earth
They say that anything can happen in the movies, and Here On Earth gives several examples of it. A self-centered jock willingly gives his lifelong love to his rival. A girl dying of cancer suffers no pain or distress as the disease ravages her body. And, most incredibly of all, two teenagers show evidence of having memorized poetry. Thus does Here On Earth, a tearjerker for teens, strain our suspension of disbelief.
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Mother is a most atypical murder mystery. This is not only because it features an aging female "detective" who represents a bizarre fusion of Miss Marple and Jane Tennison, but because the surreal style contradicts the normally gritty approach we have come to expect from the genre. The movie opens in an almost comedic fashion (albeit one in which the humor is decidedly macabre) and looks for a short while as if it's going to be a satirical social commentary. From there, however, it gets dark and serious. There are twists aplenty and if some of the deductions arrive too easily as a result of contrived clues and convenient witness testimony, those credulity hurdles are easily vaulted in the name of a good story. Mother delights in confounding viewer expectations. In fact, just when you think it's over, a couple of plot developments remain lurking around the next corner.
Kissing Jessica Stein
The smart romantic comedy occurs so infrequently that it has obtained an almost mythical status, sort of like Santa Claus or the Tooth Fairy. In the subgenre of gay and lesbian romantic comedies, intelligence is even rarer. Since the ratio of good to bad movies is about the same in the gay/lesbian niche as it is for mainstream films, and there are far fewer pictures made to accommodate the homosexual audience, it stands to reason that it can be difficult to find a gay and/or lesbian romantic comedy with a strong enough script to appeal not only to its core viewers, but to a wider audience. Kissing Jessica Stein is one of those uncommon movies.
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Rescue Dawn, which transpires in southeast Asia during 1965, makes three things perfectly clear. First, director Werner Herzog is obsessed with the story of Dieter Dengler. Second, Herzog loves making movies about men with a tenuous grasp on sanity who are trapped deep in the jungle. Third, lead actor Christian Bale no longer has a stable weight.
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Ten Dead Men
One of the most famous lines in the history of cinema is from the ‘Godfather’ series; ‘Just when I thought I was out they pull me back in’. While this is critical to the understanding and appreciation of these films it is also representative of an entire sub genre of movies. a popular theme has always been a criminal who tries to break away from his life of crime and go straight. Typically the underworld figures he worked for has other ideas for his future and there is no mob retirement package that is conducive to a happy ending. One of the primary reasons for the popularity of this plot device is it speaks directly to the fundamental nature of man. Within us all is a constant battle between good and evil. The vast majority of us manage to repress the inclinations towards breaking the law but somewhere hidden inside of us is that rebellious side of our personality.
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Struck by lightning, an endearing little robot known only as "Number 5" escapes from an experimental electronics firm. Technician Newton Crosby (Steve Guttenberg) and his indecipherable East Indian assistant, Ben Jabituya (Fisher Stevens), set out to locate Number 5 before the military can go through with its plans to destroy the robot. Number 5 takes refuge with loopy Stephanie Speck (Ally Sheedy),
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13: Game of Death
A Boy Scout is standing at the crosswalk of a busy intersection in Bangkok and sees an elderly woman carrying some bags, struggling to make her way across the street. The woman drops some of her belongings, and as the seconds tick away before the lights will change, the boy runs out to assist the woman. In the confusion, he drops his mobile phone, and leaves it in the street while he helps the woman to safety. Just as the light changes and traffic starts to rush forward, the boy runs out to retrieve his phone, where he is hit by a bus and killed.
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Pirates of the Caribbean: The Curse of the Black Pearl
As Governor Weatherby Swann (Jonathan Pryce) and his 12-year-old daughter, Elizabeth, sail to Port Royal, Jamaica, their vessel encounters a shipwreck with a sole survivor, the young Will Turner (Orlando Bloom). Elizabeth hides a gold medallion that the unconscious Will is wearing, fearing it will identify him as a pirate. She glimpses a ghostly pirate ship, later identified as the Black Pearl.
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The film introduces a circle of youths who are addicted to playing Hellworld, an online computer game based on the Hellraiser series. The film opens at the funeral of Adam, one of the friends who was obsessed with the game and ultimately committed suicide after becoming too immersed in the game. The remaining five friends blame themselves for not having prevented Adam's suicide.
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Emma (Moss) has a strong aversion towards her family’s new house, especially the attic. After moving in, she becomes miserable and reclusive. The rest of her family also seems unhappy and unsettled. The situation escalates one day when Emma is in the attic alone. All of a sudden someone who looks exactly like Emma attacks her viciously.
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Part I Wrath
A mysterious mute Norse warrior only known as One-Eye (Mads Mikkelsen), is held captive up above in misty highlands by the chieftain Barde (Alexander Morton), where he is forced to fight to the death against other tattooed men. While imprisoned, a young boy named Are tends to him regularly, bringing him food and water. One-Eye is shown to have the ability to foresee events in his dreams; a dream of him bathing in a pond leads him to discover an arrowhead on the bottom of a water bed. Using the arrowhead, he breaks free, slaughters everyone except for Are and a warrior that he lets escape, and places the head of the chieftain on a stake.
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An L.A. cop investigates the death of his partner in the swamps of Louisiana. Enlisting the help of an ex-cop who lost his hand to an alligator many years before.
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Jack Yeats (Robert Wisden) is uncovering the biggest case of his reporting career in this murder mystery. The newsman does his best to go under cover including posing as a woman in a seedy subculture that could land him in a coffin. Touches of dark comedy give this detective drama an added punch.