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The Girlfriend Experience
Steven Soderbergh makes two kinds of movies -- the Hollywood kind and the indie kind. Though let's be straight here: Even Soderbergh's indie films are essentially Hollywood. There's no risk involved with them from a financial perspective, and from the creative side they continue to lend the filmmaker the artsy street cred that allows him to go off and make big fluff films like Ocean's Whatever with impunity.
The Girlfriend Experience comes from the indie side of Soderbergh, a low-budget, quickly-made digital picture starring a cast of non-movie stars (though, in this case, not necessarily non-stars, depending on your knowledge of porn). It's far more enigmatic and challenging than any wide release multiplex picture you'll see these days, but does that automatically mean that it's better than those Hollywood types of movies?
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Now here's a weird case: An out-of-nowhere occult-heavy horror flick from director Joel Schuamcher (The Lost Boys, Flatliners), production company Gold Circle (Slither, White Noise), distributor Lionsgate (too many horror films to mention) -- that got a contractually-mandated afterthought of a theatrical release (25 theaters!) before popping up on the horror shelves, looking all slick and intriguing. (Say what you like about the film itself, but Blood Creek, previously known as Town Creek and also plain old Creek, does offer one bad-ass DVD cover.)
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Basic Instinct 2
Who would have imagined that the most appropriate word to describe Basic Instinct 2 would be "boring?" This plodding, pretentious follow-up to 1992's hit replaces Paul Verhoeven's lurid, over-the-top style with the leaden rhythms of Michael Caton-Jones (Rob Roy), a director who doesn't have a clue what a Basic Instinct movie should be about. By emerging from the niche in the exploitation genre carved out by the original, Caton-Jones has rendered the material inert. It's nearly impossible to endure the two hours that comprise Basic Instinct 2's running length not because it's dumb (although it is) and not because it's poorly acted (which it also is), but because it's lifeless. For anyone not jacked up on caffeine (minimum of two cups of strong coffee required), this is a guaranteed sleep-inducer.
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Harold and Kumar Escape from Guantanamo Bay
Harold and Kumar Escape from Guantanamo Bay exists because it was cheap to make and has a devoted core audience, not because its predecessor, Harold and Kumar Go to White Castle, was a blockbuster. The filmmakers, understanding what made the first movie successful with its adherents, avoided changing the formula this time around. The second H&K movie might just as easily be called Harold and Kumar: More of the Same. Escape from Guantanamo Bay picks up where White Castle ended and continues the comedic episodic story, stretching it out to epic length, albeit without epic content.
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1986's The Hitcher is not representative of a classic of the 1980s horror boom, so the decision by Michael Bay and company to re-make it is merely unnecessary, not sacrilegious. 20 years later, the original stands up well; there is no need to re-imagine it for today's generation. Nevertheless, for reasons understood only in Hollywood and having to do with a "$" sign, there seems to be a movement to re-create every horror title made in the '70s and '80s. And, while it may be odd to refer to The Hitcher as possessing a "soul," that's precisely what's lost in the 2007 edition. This is a mechanical gore-fest that offers preposterous stunts in place of escalating tension and waxwork mannequins in place of marginally interesting characters.
Lord of the Rings, The: The Fellowship of the Ring
In the pantheon of fantasy writers, no diety is treated with greater reverence than J.R.R. Tolkien, who is regarded by most readers as the Father of Modern Fantasy. During the past three decades, the fantasy area in bookstores has expanded from a minor subsection of science fiction to a major category in its own right. A couple dozen titles have been replaced by hundreds. Fantasy has gone from being a cult genre to entering the mainstream. This would not have happened without the popularity and influence of Tolkien's The Hobbit and The Lord of the Rings. Nearly every published fantasy author acknowledges having read and been inspired by Tolkien's canon, and, while The Lord of the Rings may not be the longest or most complex fantasy series to date, it remains the standard against which all similar works are measured. It is the epic fantasy series.
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In a year of debacles and big budget implosions like Supernova, Mission to Mars, and the unforgettable Battlefield Earth, the task of creating the most satisfying science fiction movie (to date) has been left to veteran director Clint Eastwood. While his overlong Space Cowboys is not a portrait of cinematic perfection, it is consistently engaging, features likable, irascible characters, and does not descend into the shoot-and-scoot idiocy that has marked far too many recent outer space endeavors. While there are definitely a few plot point similarities between Space Cowboys and Armageddon, in tone and approach, Eastwood's effort owes more to Contact.
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Blues Brothers 2000
They're back, and this time they're not on a mission from God. Strictly speaking, however, only one of the original Blues Brothers has returned -- Dan Aykroyd's Elwood. His partner, Jake (played by the late John Belushi), died in prison, so now it's up to the survivor to find a new lead singer, re-form the group, hit the road, run from the police, and end up in a band competition to end all band competitions. Any similarities between the sequel and its classic inspiration are entirely intentional. In fact, in many ways, Blues Brothers 2000 is as much a remake as it is a follow-up. The familiar elements are certainly all there.
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Woody Allen's 1998 feature entry, Celebrity, is arguably his weakest film in half a decade, failing to reach the level of entertaining mediocrity attained by such middle-of-the-road features as Mighty Aphrodite and Deconstructing Harry, and falling far short of the mark established by Everyone Says I Love You and Bullets Over Broadway. That's not to say that there's nothing worthwhile in Celebrity. In fact, some of the sequences in this black-and-white, episodic ensemble piece are riotously funny, but there aren't enough good moments to counterbalance the negatives. As a result, Celebrity turns out to be a minor footnote on this year's holiday film release roster. (It is also another disappointment for Miramax Films, which has been suffering through an awful year.)
When modestly successful screenwriter Hudson Milbank descends into a strange mood in which he feels detached from the world around him and unable to connect with his surroundings, either physically or emotionally, he attributes it to a night of excessive cannabis use. His writing partner Tom is disturbed by the sudden change in Hudson's demeanor and urges him to seek psychiatric help.
A Closed Book
The film starts with a character named Sir Paul (Tom Conti) who is looking for an amanuensis he goes through several unsuccessful candidates until Jane Ryder (Daryl Hannah) turns up and is: intelligent and forthright. She is employed, and he explains about the house and introduces Mrs. Kilbride (Miriam Margoyles), the maid.
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After a sexual harassment incident, Dennis Burke, a Nathaniel Hawthorne scholar, goes to work at a California college. He begins correspondence with an imprisoned murderer, Lydia Davis. Burke is finding old habits hard to break, developing relationships with obsessive coeds. Meanwhile, Lydia escapes from prison. Dennis and his colleague Thurston, a computer scientist and hacker, find themselves caught in a web of intrigue.
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Motivated by Box Office statistics, Dax Shepard has made a decision to leave comedy to pursue his dream of becoming an international Martial Arts action star.
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When a deadly virus spreads out through France in the summertime, thegreat part of the population is mow down. The last hope of thesurvivors is the military station called Noah, a hidden sanctuary wherescientists are researching the cure. Dr. Sonia (Hlne de Fougerolles),her beloved boyfriend Marco (Francis Renaud) and the military Perez(Marie-Sohna Conde) seek Noah driving an ambulance in a lonely roadthrough the woods, but they run out of gas. There is an incident with azombie with a shootout and Perez dies and Marco is hit in the stomachand contaminated by the zombies blood. Sonia heads to an apartmentcomplex and she lodges with Marco in the desert place while healinghis wound, Sonia tries to contact Noah. But sooner Sonia finds out thatthe location is indeed inhabited and she is in danger.
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A young novelist tries to write about love, but realizes he will first need some real-life experience before taking on the subject.
Night Catches Us
In 1976, complex political and emotional forces are set in motion when a young man returns to the race-torn Philadelphia neighborhood where he came of age during the Black Power movement.
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