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The Day the Earth Stopped
Where the recent remake of The Day The Earth Stood Still, which trades its metaphor for atomic weapons in favor of hitting you over the head with a reminder of your personal carbon footprint, The Day The Earth Stopped, clearly intended to cash in on the Day remake hype, sticks to the original plot fundamentals as most of The Asylumís remake mockbusters tend to do. That doesnít excuse it, though. This is still a steaming pile of shit.
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About a Boy
Talk about an unenviable task... Universal Pictures has chosen About a Boy to be a sacrificial lamb, electing to open it on May 17, opposite Attack of the Clones. Maybe they're hoping that movie-goers disappointed by sell-outs at the latest Star Wars sequel will buy a ticket to this movie. Or maybe it's counter-programming, although the desire to see the Star Wars movies cuts across racial, class, gender, and generational boundaries. It's too bad that the distributor has matched About a Boy against such an undefeatable opponent - this movie is deserving of more exposure than it's likely to get. It may not be a "must-see" blockbuster, but it's better than a lot of what passes for summer entertainment.
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Body of Lies
Body of Lies is an adult thriller with such a high narrative density that even a brief trip to the restroom may result in key plot points being lost. The film is the antithesis of a slick, superficial feature like Eagle Eye. It both demands and rewards thought. It engages the mind instead of punishing those who use it for reasoning. Body of Lies neither panders nor condescends. It involves current events and has a political viewpoint, but it overplays neither. And, while the movie is very much story-driven, it doesn't lose sight of the characters along the way. It's smart and complex in the same way that films like Syriana and The Departed are smart and complex.
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The bayous of Louisiana are a strange and wonderful place -- a world unto their own, overflowing with a wealth of story and thematic possibilities. Whether it's the heated mystery of The Big Easy, the nonstop action of Hard Target, or the gory scares of Candyman, the cajun state has attracted projects in search of a setting like no other in North America. It is here, amidst the darkly beautiful swamps, that first-time director Kasi Lemmons has set Eve's Bayou, a fascinating tale of guilt, consequences, and voodoo.
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Lost in Space
Lost in Space is New Line Cinema's bid to enter the space franchise race. Undoubtedly impressed by the long-term, consistent profitability of Paramount's Star Trek movies (the ninth of which will be released this year), New Line has decided to resurrect another late-'60s science fiction television enterprise, Lost in Space. Admittedly, thirty years ago, there weren't many similarities between the two programs. Star Trek was a relatively serious, socially-conscious series while Lost in Space became infected with what I'll call the "Batman sickness," and, over the course of its four-year run, devolved from a semi-straight program into pure camp. Much of that silliness has been removed for this big-budget, big-screen effort.
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"Hate put me in prison. Love's gonna bust me out." Those words, spoken by Rubin "Hurricane" Carter (Denzel Washington), form the thematic foundation of Norman Jewsion's latest film, The Hurricane. Alternatively tragic and triumphant, it is an exhilarating trip through the life and times of the title character, a championship boxer from Paterson, New Jersey, who spent 19 years behind bars for murders he did not commit. The Hurricane not only details the crime and the miscarriage of justice that followed, but shows how Carter survived the long, lonely years in prison, and how the devotion of a small group of Canadians led to his redemption.
Brady Bunch Movie
The Brady Bunch Movie, the natural culmination of a '90s revisionist Brady fad, is part homage and part parody. It takes the inimitable clan of eight and time-transports them, '70s attitudes and dress style intact, into 1995. Instead of being regarded as the perfect American family, they have become outcasts and weirdos.
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Out of Africa
Watching Out of Africa a quarter of a century after its release, it's almost impossible to guess how it won the Oscar for Best Picture. There's little doubt that this is a feast for the eyes and ears. The pairing of John Barry's lush score with David Watkin's poetic cinematography is worth the price of admission. Would that the story, based on the memoirs of Isak Denesen (the nom de plume of Karen Blixen), warranted equal praise. There's nothing wrong with Out of Africa. Sydney Pollack's direction is quietly competent and the acting by Meryl Streep and Robert Redford is top notch. But the lazy story is little more than an ordinary melodrama that simmers without ever reaching a boil. To tell the truth, during the entirety of the movie's nearly three-hour running length, I was more interested in the scenery and Barry's music than I was in the characters. Yet, in large part because of the talent involved, this became THE prestige picture of 1985, and the Academy treated it as
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With the exception of the opening and final scenes, which depict the 1941 suicide by drowning of Virginia Woolf (Nicole Kidman) in the River Ouse, the action takes place within the span of a single day in three different years, and alternates among them throughout the film. In 1923, renowned author Woolf has begun writing the book Mrs. Dalloway in her home in the town of Richmond in suburban London. In 1951, troubled Los Angeles housewife Laura Brown (Julianne Moore) tries to find escape from her dreary existence by reading Mrs. Dalloway. In 2001, New Yorker Clarissa Vaughan (Meryl Streep) is the embodiment of the title character of Mrs. Dalloway as she spends the day preparing for a party she is hosting in honor of her friend Richard (Ed Harris), a poet and author living with AIDS who is to receive an award for career achievement. Richard often refers to Clarissa as "Mrs. Dalloway".
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Mr. St. Nick
n Mistletoe Manor, King Nicholas XX, commonly known as Santa Claus (Oscar and Emmy nominee Charles Durning, Hard Time), and his wife Carlotta (Emmy nominee and Golden Globe winner Katherine Helmond, Whos The Boss?), arent feeling particularly jolly. With Christmas only weeks away, the aging king is ready to pass his throne to the Crown Prince, Nick St. Nicholas (Golden Globe and Emmy winner Kelsey Grammer, Animal Farm). But the sexy Santa-to-be is a no-show heir with other priorities - his lavish seaside estate, leggy newswoman Heidi Gardelle (Elaine Hendrix, The Parent Trap), and public relations expert Hector Villarba (Luis Garcia, American Family). Heidi and Hector may not know Nicks true identity, but they do know that he is the prince of benefits. Their plan? Use his knockout connections to create an on-line holiday charity. Nicks all for it. Unfortunately, the problems are just beginning. A charge of fraud has turned Nicks charity into a nationwide scandal. Whats it going to take to prevent Christmas from becoming a dim memory? Nothing short of a miracle.
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Frat House Massacre
Set in the late 70s, this gritty and twisted film taps the physical and mental underpinnings of the meaning of the word brother in a way reminiscent of the best of late 70s grindhouse and early 80s slashers.
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Minty: The Assassin
MINTY is a youthful, raven haired, punk rock, feminist, female super heroine, that gets her super powers from eating chocolate (which is a good source of antioxidants). One day Mintys agent, BIG BOSS, an older and honorable gentlemen, is taken hostage by DOCTOR BRAIN BENDER, the evil neuro-scientist. Minty then fights her way up various perverse floors of Doctor Brain Benders paranormal building to rescue Big Boss. Several unusual villains stand in her way CAPTAIN CAPABILITY, a freak of nature SENSATIONAL NINJA, an effeminate assassin RAT MONSTER, a depressed mutant BRUCE ZEE, a psycho martial artist MOLLY LEVIATHAN, a sensual super vixen ZEN COWBOY, a blindfolded gunslinger and DOUBLE DELICIOUS, an intellectual lesbian vampire. Throughout this wild odyssey, Minty educates her adversaries on the fascinating world of natural science and then uses her beauty, her brains, and pure brutality to demonstrate the biological theory of the survival of the fittest.
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From a Missouri jail cell to the heights of the world heavyweight boxing championship, Phantom Punch traces the turbulent life of Sonny Liston, chronicling his ties to the mob, run ins with the law, and the circumstances surrounding his mysterious death.
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The Way Back
The film begins with Janusz (Jim Sturgess), a Polish POW, being interrogated by a Soviet officer. Janusz refuses to admit his guilt. His wife is brought in to the room and forced to make a statement condemning Janusz. Janusz is sentenced to 20 years in the Gulag.
At the camp in Siberia, Janusz meets Mr. Smith (Ed Harris), an American Metro engineer; an actor named Khabarov (Mark Strong); Valka (Colin Farrell), a hardened Russian criminal; Tomasz, an artist and the group's cook; Kazik, a Pole who suffers from night blindness; Voss, a Latvian priest; and Zoran, a Yugoslav accountant. Khabarov confides to Janusz that he has a plan for escaping. Khabarov's proposed route is south to Mongolia, passing Lake Baikal. Mr. Smith tells Janusz that Khabarov is fantasizing about his desire to escape in order to improve his own morale, and that, in his opinion, escape is impossible. Janusz maintains his resolve.
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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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An escaped mental patient kidnaps an illiterate teenage farm girl and takes her to his mountain hide-away, where they soon become friends and, eventually, lovers.
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