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The United States Constitution. The Library of Congress. Mount Rushmore. The teen sex comedy… All of these are national treasures, aspects of American life that we hold sacred -- those things that have made the United States the great nation that it is today. And as important as these treasures are to us, it is not often that a new member is accepted into this very elite club. Only the best, the brightest, the most influential and momentous of artifacts can make it. And unfortunately, Fox Atomic's new film Miss March does not fall into that category.
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Robot Chicken: Star Wars
Not long ago, from a galaxy not far enough away comes Robot Chicken: Star Wars! Featuring sketches which parody George Lucas’s epic saga together with stop motion animation using claymation and plastic toys, it’s an excellent send up of a classic which also manages to answer some questions you might have had, like what would happen if Jar Jar Binks met up with Anakin Skywalker later on when he’s Darth Vader or how George Lucas would escape from fans at a Star Wars convention!
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Ghost Town is one of those romantic comedies that never quite clicks. At times, its humor is effective, provoking chuckles and laughs. At other times, the comedy feels forced and awkward. The romantic element is equally hit-and-miss. The chemistry that emerges between the leads during the film's second half is largely absent from the first 45 minutes. And the premise, rich with promise and pregnant with possibilities, is reduced to a plot device that allows Ghost Town to turn into a low-rent, modern-day version of A Christmas Carol.
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2 Days in Paris
I thought this was a porn movie. No, wait, that's One Night in Paris. I guess two days is too long…
2 Days in Paris provides us with a familiar picture: Julie Delpy wandering the streets of the city in the company of an American she's in love with. The two spend much of the movie's 100 minutes talking as their wanderings allow the camera to follow them into areas where major films set in Paris rarely take us. (Another wisecrack at Ms. Hilton's expense seems appropriate here.) Although the narrative and structure of Delpy's film (which she directed, produced, wrote, starred in, scored, and edited) recalls the duet of Before Sunrise and Before Sunset, there are critical differences. In the two Richard Linklater movies, there was palpable romantic chemistry between Delpy and her co-star, Ethan Hawke. Here, barely a flicker exists between the actress and Adam Goldberg. In Sunrise and Sunset, the dialogue turned to interesting topics and seemed to evolve naturally between the performers. In 2 Days in Paris, it's banal and feels scripted. The result is a rather dull experience featuring more than 1 1/2 hours spent in the company of two characters in which it's difficult to generate much interest.
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My reaction to The Darjeeling Limited is much the same as for most of Wes Anderson's previous efforts: it's an easy movie to admire but more difficult to like. Technically and thematically, there's a lot in The Darjeeling Limited to arrest the attention. Emotionally, there's a void. Try as I might, I could not connect with any of these characters. Anderson keeps them at arm's length. Tragedies, both big and small, occur during the course of this offbeat road trip, but the impact on the viewer is minimal.
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We've seen the set-up before: a nice middle-class family held captive by a pair of psychopaths. This time, however, things aren't going to turn out as Hollywood has primed us to expect. In his remake of his own 1997 feature, writer/director Michael Haneke uses the viewer's expectations against him or her. He makes a bold statement about how the indoctrination of mainstream thrillers has made violence and terror acceptable for entertainment by crafting a motion picture that is anything but entertaining. Funny Games is openly, intentionally unpleasant and is not for anyone in search of light fare. This is tough movie that sticks the knife in, twists it, then leaves it there. It's thought-provoking material but I suspect the audience is small that won't be repulsed by what's on screen.
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Grace Is Gone
If Martian Child is the price film goers must pay in order to get Grace Is Gone, then it's a worthwhile trade. This low-key drama, the directorial debut of James C. Strouse, is the kind of opportunity that real actors relish. With a minimalist plot, Grace Is Gone turns its primary focus on John Cusack, giving the actor an opportunity to display both his talent and his range. One can argue that the premise is not a can't miss proposition, but with Cusack in the camera's crosshairs, the situation's poignancy seems genuine rather than exploitative.
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Hills Have Eyes II
The Hills Have Eyes II is a sequel to a remake but not a remake of a sequel. Curiously, Horrormeister Wes Craven has been involved in all four movies featuring the words "hills" and "eyes" in the title. He wrote and directed the 1977 original and its 1985 sequel. He produced the 2006 remake and now he has added writer/producer credits for this movie to his resume. However, whatever optimism I may have had for the movie considering Craven's involvement evaporated quickly once in the theater. Whatever contribution Craven made to the screenplay must have occurred in the middle of the night while he was blindfolded. The hills might have eyes but this is one of those times I wish I didn't; then I could have been spared the headache and boredom inducing experience of sitting through this.
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Dead Man, Jim Jarmusch's first feature since 1992's Night on Earth, is a quirky chronicle of one man's physical and spiritual search for a place of belonging. Jarmusch chose to make Dead Man a western because, according to him, the genre is "very open to metaphor, and has deep roots in classical narrative forms." Actually, any kind of road picture could have been used to tell this oddly-compelling tale.
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Reprinted with permission from The Vampire Gazette, Volume 348, Issue 5, May 1994.
Throughout the ages, human beings have harbored a not-so-secret fascination about our kind. "Children of the night" they call us, romanticizing the price that we pay for immortality. If only they understood the pain, the hunger, the loneliness... But I digress. We are all aware of those things. They are in our blood.
That Was Then... This Is Now
Emilio Estevez adapted S.E. Hinton's teen coming-of-age novel for the screen in this film adaptation directed by Christopher Cain. Estevez also takes the lead role of Mark Jennings, a troubled teenager who has been living with his best friend Byron Douglas (Craig Sheffer) and his mother (Barbara Babcock) ever since his father went to prison for murdering his mother.
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During the operation Storm in Desert in Iraq, the tough Marine Sergeant of Special Operations MacPherson and his great pal and family man, the Mexican Corporal Miguel Silva, are seriously wounded and retired.
Back When We Were Grownups
Once upon a time, there was a woman who discovered that she had turned into the wrong person. Based on Anne Tylers novel, the movie centers on Rebecca Davitch, a 53-year-old single mother and grandmother, and the cast of her colorful family around her.
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Sarah, Plain and Tall: Winter's End
The third and final episode of the Sarah, Plain and Tall series is a 1999 production reuniting stars Glenn Close and Christopher Walken with original director Glenn Jordan. Taking the story eight years beyond the original tale, Winters End is set in a harsh Kansas winter of 1918, with the specter of death everywhere soldiers are dying overseas during World War I, influenza is at epidemic proportions in the U.S., and an old man has returned to the Witting farm with an uncertain reception. Hes John Witting (Jack Palance), father of Jacob (Walken), and the two men have not seen each other since John abandoned his son years ago. Reconciliation comes hard, punctuated by cliffhanger disasters (Jacob breaks his leg and burns with a fever, Sarah almost dies in a heavy snowstorm), but this most brutal of trial periods for the Wittings still invites a viewer to yearn for a more innocent--perhaps mythical--time in America. A worthy and rewarding finish to a trilogy fit for families yet sophisticated enough for all ages, Winters End may be one of the last network television classics in an era of audience relocation to multichannel cable.
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In the near future, a police officer specializes in malfunctioning robots. When a robot turns out to have been programmed to kill, he begins to uncover a homicidal plot to create killer robots... and his son becomes a target.