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Let Me In
Ever since it was announced, controversy has surrounded Let Me In, the American remake of beloved Swedish vampire flick Let the Right One In. Film fans the world over asked why Hollywood felt the need to take a pass at a film that was perfect in its own right, and one that was only released a couple of years back.
Well let us allay your fears from the outset - Let Me In is a marvellous re-imagining of John Ajvide Lindqvist's novel; an intelligent adaptation that has been crafted with such love, care and attention that it deserves to be judged on its own terms, and a film that - dare-we-say-it - might even improve on the original.
In this version proceedings have been transferred to Los Alamos, New Mexico, and the year is 1983 - the Cold War at its height; Americans fearful of the perceived Soviet threat.
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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.
When it became public some weeks ago that Lionsgate would not be screening Killers in advance for critics, the journalistic world was abuzz: would this high-profile movie pairing Ashton Kutcher and Katherine Heigl -- a match made in eye-candy heaven -- really be such a bomb that it felt the need to skirt the venomous sting of critics? As a critic who just emerged from a standard, ho-hum, no-swag cineplex screening, I can attest that the answer is, somewhat surprisingly, no.
See Paris and die is the old saying, but when you venture down below the city of lights into the catacombs you may find that there’s something that will assist you in the dying part of the phrase.
Victoria (Shannyn Sossamon) gets a postcard from her sister Carolyn (Alecia Moore, aka Pink) saying that she should come to Paris that that the trip will “change her forever.” Carolyn takes Victoria to a party that’s hosted by Jean-Michel (Mihai Stanescu) in the legendary catacombs that are under the streets of Paris. The catacombs have been a repository of the dead since the 18th century and the bones have been crafted into macabre works of art.
Sometimes, even a hardened critic can be surprised by a movie. Based on the promotional material, Sex Drive appears headed down the worn track followed by a long line of formulaic teenage road comedies. I won't bother listing the titles - those with a fondness for the genre know them by heart. Suffice it to say, it's not an impressive lineage. Sex Drive starts out much as one might suspect from a film with that title and, for a while, it meanders deeper into familiar territory, seemingly on cruise control. Then something unexpected happens. The characters begin developing personalities. The situations start going for more than just cheap laughs. It's as if John Hughes stole pages 30 through 110 of the Sean Anders/John Morris script and replaced it with something that has a heart in addition to gonads.
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Graphic artist Oliver Fields (Ewan McGregor) has been trying to come to terms with the fact his widower father Hal (Christopher Plummer) decided to come out of the closet at the age of 75 before being stricken by cancer. Months after his father's death, Oliver meets the enigmatic Anna (Mélanie Laurent) at a party; they're immediately attracted to each other but each are trying to deal with personal issues that might impede their happiness.
The idea of a 75-year-old widower coming out of the closet might sound like an absurd premise for a movie if you didn't realize that aspect of Mike Mills' follow-up to his quirky debut "Thumbsucker" actually comes from his own life. Oddly, this semi-autobiographical dramedy makes Mills' adaptation of Walter Kirn seem conventional by comparison partially due to the film's dual non-linear story structure that cuts between Oliver's quest for love with Anna and his last years with his father. It's a film that's very aware of itself in the way it breaks the fourth wall or switches into different narrative styles with Mills' quirky sensibilities always in full effect.
Note to readers: this review contains spoilers. If you care, come back and read the review after you have endured the torture that is Halloween: Resurrection.
There are three levels of quality in the horror genre, all of which are represented in the Halloween series. A good horror movie delivers characters worth caring about and keeps viewers on the edges of their seats with scares aplenty. John Carpenter's seminal Halloween is unquestionably in that category. A mediocre horror movie typically offers two-dimensional individuals trapped in a stale plot, yet is still able to deliver the occasional scare. Halloween installments two, four, and seven fit that description. A bad horror movie is an effective sleep tonic, with plastic, uninteresting stereotypes to go along with an utter lack of shocks, chills, or surprises. This is the division in which Halloweens 3, 5, 6, and 8 belong.
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Notes on a Scandal
Notes on a Scandal is an attempt to make a Fatal Attraction type thriller for the art house crowd. With a cast that features two of today's best actresses - Judi Dench and Cate Blanchett - and a screenplay of uncommon literacy, the movie nearly achieves its aim. However, in order to propel circumstances to a conclusion, Notes on a Scandal relies upon a contrivance so ugly and obvious that it's impossible to ignore. This single glaring fault, which is even more evident considering how well constructed the rest of the movie is, damages the film's narrative flow and credibility.
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Apparently, the producers of Jumanji wanted this film to be a Jurassic Park for 1995's holiday season. If so, it's a badly misplaced, and ultimately futile, hope. For, although no one would suspect Steven Spielberg's 1993 dino-picture of having a plot worthy of great literature, at least it had a storyline -- something this film is lacking. Jumanji takes approximately one-hundred minutes for four people to play a board game. The result isn't much more fun or involving than watching a few friends play Monopoly. Even the Robin Williams manic humor can't save Jumanji, at least not entirely.
If this was a totally worthless film I would easily call it a Chinese rip off of Transformers but it bring more to the table than meets the eye. Under normal circumstances, I try to know as little as possible about a film before I watch it. I feel it allows me a better experience the film. Kung Fu Cyborg: Metallic Attraction is a film I should of done a bit of research on to avoid expectations. The year is 2046 and state-built robot K-1 is entrusted to the care of Xu Dachun, a super-righteous and supposedly incorruptible cop stationed in the Chinese countryside.
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One Hell of a Christmas
One Hell of a Christmas is a dark and action packed comedy that takes place in a modern city as well as in a fearful underworld. When Carlitos is released after doing 2 years of hard time, he attempts to redeem himself and sets an example for his 5 year-old son. However, when a friend confronts him with a very dark and horrifying scam for some quick dough and good times, he declines, but never the less he soon finds himself entangled in a web of sex, drugs and Christmas carols.
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All the Days Before Tomorrow
The movie follows a non-linear convoluted journey through (4) different settings: One which represents today; one which represents protagonist Wes', dreamworld; and the remaining two representing the good times shared with Alison who is Wes' dearest and closest platonic friend. The movie has been made the same way as the memoirs it is trying to portray. Non-existence of time is one aspect of the protagonist that is loved by his friend. The movie captures this time anomaly in their relationship with scenes of past memories in a non-linear sequence. It gives you a sense of the loneliness and lack of deep connection Alison is going through while trying to maintain her relationship with her beau in tokyo, all while making you aware that Wes is only carrying on with his life by holding onto the best memories between them. (This is depicted in the opening scene when Alison is watching the shining window drapes which represent the same kind of drapes at a hotel where she stayed with Wes during a road trip through the Utah deserts).
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Small Town Folk
There is a place... a place called Grockleton, wherein, high on a hill-top stands the lonely Beesleys Manor, governed by the villainous Landlord and his lowly male counterparts (Pooch, Pike and the diesel-swilling Dobbin). Always on the look-out for new female company to help carry on the Beesley name, the Landlord keeps a watchful eye over Grockleton and anyone who dares to enter his land. When three improbable heroes stumble unsuspectingly into the Beesleys realm they are cruelly snared into a menacing hunt and an unstoppable frenzy of heart racing mayhem! Will the Landlord triumph and collect his trophies (and maybe even a future bride?), or can the unlikely trio be victorious against him in his own game?
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Hallmark Hall of Fame presentation based on the novel by Kent Haruf. Tom Guthrie (Aidan Quinn), a high school history teacher...
Dirty Dancing: Havana Night
Katey Miller (Romola Garai), her parents (Sela Ward and John Slattery), and her younger sister Susie (Mika Boorem) arrive in Cuba during the Cuban revolution. A self-described bookworm, Katey is not very happy about having to move to a different country during her senior year of school as she had been planning to attend Radcliffe College; although, the rest of her family seem extremely pleased to be in Cuba. Meeting several other rich American teenagers down by the pool including James Phelps (Jonathan Jackson), the son of her father's boss; Katey becomes disgusted when one of the teenagers insults a waiter when he accidentally knocks over some of their drinks. Katey attempts to talk to the waiter - Javier (Diego Luna), who works at the hotel to support his family - because she feels awful about what had occurred but he is not interested.
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Lisa Reisert (Rachel McAdams) fears flying. After attending her grandmother's funeral in Dallas, Texas, she takes a red-eye flight to Miami, Florida. While in the check-in line she meets an elderly woman (Angela Paton) who is interested in Lisa's Dr. Phil book. She tells her she's a fan, Lisa gives the old lady her book saying she has already read it. She then meets Jackson Rippner (Cillian Murphy) whom she initially finds charming and they share a drink while they wait to board their delayed flight (The name "Jackson Rippner" is likely a word play of "Jack the Ripper", Lisa realizes this allusion and points it out)
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