| |  | | With an exceptionally heavy back story and to large of an attempt at psychological games that do not succeed the film is a lackluster action movie. The '12 Rounds' are far from original but do manage to pass the time easily. As a viewer you may not be bored but being overly engaged is highly unlikely also as the surprises and twists you so desire are never realized. | | | | | This is a great movie that will have you laughing and possibly even weeping as the story unfolds. It is more than just a teen comedy as it deals mostly with family and the relationships formed between parents and children; and the difficult nature of those relationships. The film essentially mixes comedy and drama together to give a rewarding movie going experience for teens and adults alike. The basis for the storyline may have been done before but this time the repetitiveness is a welcome treat as it has enough of the 'new' to make you forget you've seen something like this before. | | | | | Why waste time, lets destroy everything from the start. That could be the mantra for this film. After a brief introduction to some characters, and a small dose of backstory on how the government saw the end coming years before d-day, it jumps right into absolute destruction. From the sunny southern California coastline to Washington D.C. the United States of America takes the brunt of the destruction. So much for Viva Las Vegas or the tropical oasis that is (was) Hawaii. As for the rest of the world, the outcome is no better. Even if most of there annihilation is caught on television from the United States. The actual personal stories of people are generic. Some will meet their maker, others prove their selflessness, and some will find greed has consequences. A great portion of the movie is dedicated to one family, as is typical of this type of film. You also have many goodbyes and tears to loved ones left behind. Regardless, it is one hell of a ride watching the World as we know it disappear before our very own eyes. | | | | | "This is not a love story." From that opening line you realize this film is going to be something different, and it fulfills its promise. With a refreshing take on the romantic comedy genre, being that the film is told from the male point of view, it is more an introspective piece about relationships. The ones we treasure and the ones we may never understand, but how each individually exists for a reason in our life. This is not a story about finding love, it is about realizing that love may come and go, but take comfort in what you have been given and in the excitement of what may come. For any individual who has ever questioned what went wrong, had their heart stomped upon, felt there was no escape from the pain, this is the movie you need to watch. It has a magical way of delivering hope, and healing past trauma, that is so rarely seen in cinema. The film offers a wonderful break from the cliche of romance on screen and the expectations set up for relationships. It strips away the rose-colored glasses often worn in matters of the heart, leaving the main character (Tom) and the viewer bare and open to receive the truth. | | | | | The world of 9 is a blissful nightmare full of fantasy, adventure, and animation nirvana. Beholding the artistic craft and creativity of this original piece of filmmaking is the blissful part, the nightmare however, is never being allowed the full experience due to the lack of compelling narrative. It is true that the movie's apocalyptic landscapes, empty with fire, metal, and remnants of a perished society are horrifying, but what's really scary is how the filmmakers chose to forfeit any trace of dramatics. As the viewer follows the film's tribe of survivors in their quest, one feels as if he/she is simply watching someone play a video game: going from one level to the next, fighting stage bosses in order of increasing difficulty. There is nothing wrong with video games, there worlds have proven to be just as immersive and inventive as anything out there, but conflict occurs when trying to play a single-player game in a multi-player environment. The audience wants to play too, but that becomes an impossible wish when a movie has no real question of why, no emotional exposition, no motivation but to beat the game. 9 succeeds in welcoming dark maturity to audiences craving anti-Disney animation; it's a shame that this visual splendor doesn't have the sophisticated storyline to match. | | | | | We all know this story, and very well. This new addition to the seemingly endless adaptations of Dickens' novel gives the viewer a visually stunning experience tied to an old and tired story. It is with the help of the effects and Jim Carrey's performance as Scrooge that some new life is breathed into it but in the end you still have the same things all over again. | | | | | There is no need to be afraid to go to sleep for this version of "A Nightmare On Elm Street" may get your heart racing but it just as quickly stops it from beating. The film in itself is actually mildly entertaining. It has a solid back story and it keeps the mystery of why Freddy Krueger is killing the teenagers at bay just long enough while not overdoing the explanation. It is simple and to the point which makes it easy to watch for seemingly mindless entertainment. Where the film falters lies in its most important element, the character of Freddy Krueger (Jackie Earl Haley). He is not a character to be feared but one that slowly becomes the subject of laughter and amusement towards the end of the film. Buried beneath a face of charred flesh his eyes emotions are practically nonexistent and so an essential element is lost. You want to see the evil pouring out of them as they bore down onto his victim. Feel the anger and hatred he exudes towards the teens. Alas, it does not exist. Haley's Krueger does not fulfill his obligation to the viewer to be frightful, menacing, and atrocious. It may be a shock to hear but it is the actual story that keeps you amused for the duration, it has nothing to do directly with Freddy Krueger. | | | | | The film throws together a bunch of typical characters with the normal stereotypes in order to try and keep you guessing as to who the killers may be. The problem is that it is overly obvious who they want you to believe are the killers that the suspense is all but lost on the viewer. The final "twist" is nothing short of lame, and just plain ridiculous, as it makes no sense given the material prior in the plot. All you really get is a whole lot of talking, and more talking, and then a climax that falls short of anything spectacular or remotely thrilling. | | | | | There are movies aimed at a specific audience. This is definitely one of those movies. Unless you have a very large background in the Jewish faith prepare to get lost, very lost. This entire movie is embedded with inside jokes that someone from the outside, of the faith that is, is more than likely not going to get. This does not make it a bad film but it limits it dramatically for the casual viewer. It does hold promise with the family dynamics and can be entertaining at times, but these times do not come often enough. As it follows the main character, Larry Gopnik, while his life unfolds you are amazed at how many bad things can happen to one man in a short amount of time. Everything falls apart, and then falls apart again. There is a small piece of humor in that, even if you are laughing at him and not with him. | | | | | The film takes you on a journey through a day in the life of a broken-hearted man. It is a somber piece of filmmaking with moments, shown through flashbacks or in present time, of great despair or incredible happiness. Lead by an incredibly moving performance by Colin Firth as George we are taken through the mundane, like getting dressed in the morning, to the more eccentric parts of his lifestyle when dining and dancing with his closest friend, Charlotte; the incredibly funny and damaged character played by Julianne Moore. At times the film feels overtly slowly paced. Almost painfully so; but it all makes sense as it reflects the way George feels in his life. The days drag along as his loneliness is personified. A life without the one you love moves slowly. Every minute an aching reminder of what you have lost and may never have again. With the passage of time and the people George encounters along the way he awakens from his daze of misery. It is a journey worth experiencing and feeling for any filmgoer who is willing to accept that not all movies must be overtly joyful to be excellent pieces of filmmaking. | | | | | Go ahead, have some fun. The four main characters in this movie surely are and joining in only seems like the rational thing to do. Foregoing any real backstory to any of the characters, and therefore never being concerned with character development, "A-Team" just delivers action, comedy, and a band of four men who ooze chemistry and clearly enjoy being around each other. As Army Rangers they love their job and their country. When they are set up and convicted for a crime they did not commit, involving some stolen property from the United States government, they are called into action to clear their names. Each portion of their mission it is treated like a sport. Part brains and part brawn, they assemble the parts, strategize, and play the game like adrenaline junkies. This in turn radiates back to the viewer making you excited for what will come next and what trick they have planned. "A-Team" is a simple film with a simple mission: to entertain. The mission has been completed successfully and without casualties. | | | | | This is an excellent coming of age film that bridges the seriousness of life with comedic undertones. It is not only nostalgic for the 1980s but reminiscent of how films of that era dealt with young adulthood and finding oneself. The movie is a delight as it has the quirky, the outrageous, the disillusioned and the painfully geeky characters all together for an experience one will not soon forget. Plus, it features the resurgence of the "mix tape" - how can you resist? | | | | | Everyone in the film keeps referring to a place called Underland, not Wonderland. I could not agree more that this world Alice has once again fallen into is NO Wonderland for the wonder, adventure and magical spirit one might expect is non-existent. Even Alice (Mia Wasikowska) herself lacks any sort of enchanting sparkle. She is not cold but she is not engaging. Alice is merely a teenage girl, wandering around a world full of unique and unlikely characters who are memorable for only a fleeting second; while teetering character-wise between a forgetful child and grown woman rightfully taking her place as such. As much as we want to love Alice, fear the Red Queen (Helena Bonham Carter), and delight in the fancy of the Mad Hatter (Johnny Depp) there is never enough substance to the story to allow such to happen. The stakes are never raised on Alice's journey to be a champion and save Underland from the Red Queen's reign so we sit idly by while lots happens on screen but at the same time nothing substantial happens at all. The Red Queen is more comic relief than someone to be feared. Her "Off With Your Head" does not have enough bite to send shivers up your spine; although the comedy Bonham Carter provides the character is substantial and highly enjoyable. The Mad Hatter is low on the charisma but heavy on the mindless ramblings of just that, a mad hatter. He may be amazing to look at, as his entire look is remarkably twisted and fascinating in its eclectic nature, but that is about as far as it goes for his character. Taking a trip to this Underland, um Wonderland, is one to be enjoyed for a fleeting second, and then forgotten for an eternity. | | | | Tim Burton's "Alice in Wonderland" is the most anticipated movie thus far in 2010, does it live up to the hype?
Speaking purely visually, this film is a triumph. It is incredibly beautiful: every candy-colored corner of Wonderland is richly re-imagined with great textures, levels and creepy undertones. Many of Lewis Carroll's beloved characters are revamped to reveal their darker connotations; the Mad Hatter (Johnny Depp) is perfectly insane and schizophrenic, the blue caterpillar (Alan Rickman) is amazingly literal, the Red Queen (Helena Bonham Carter) is outrageous while offering a kind of subdued horror and the cheshire cat (Stephen Fry) is haunting, amusing and oddly sympathetic. The 3-D effects worked seamlessly to bring Wonderland to life inside the theater, however it did at times cheapen the cinematography. Suffice it to say that Burton's Alice, though marketed as a film for a wide range of audiences, is a visually appealing but simplistic children's film. | | | | | This is purely a fun and entertaining movie, for kids and adults alike. It does not have an overabundance of violence and it never attempts to be overly serious - they are battling miniature aliens after all. It is for the most part lighthearted while showing the strength and perseverance children and teens may possess when needed. | | | | | Every other year or so a perplexing piece of trash comes along that forces the viewer to ask, "Why did I just do that to myself?". Ladies and Gentleman, Fox Studios presents 2009's piece of trash winner! All About Steve is so unbearably bad that anyone who sits through the entire movie without killing someone deserves a Nobel Peace Prize; Jesus Christ himself would reconsider saving us if he had to watch this thing. The worst thing about the movie is the main character herself: the "unique" Mary Horowitz. Sandra Bullock's Mary dresses trashy, looks trashy, talks too much, makes crossword puzzles for a living, stalks men to psychopathic levels, and has solidified her candidacy for the top spot when AFI announces its 100 years of Annoyingly Annoying characters. Here's the kicker though... we're supposed to think she's annoying, and then we're supposed to feel bad about thinking that way when we realize she's just... "special". I don't know what's more offensive, the idea that all smart women have to be weird, desperate, and socially clueless or the fact that this movie tried to make me feel guilty. If I wanted to feel guilty I would've done it more rewardingly by watching a movie about the holocaust. From the artificial cinema de quirk premise to actor DJ Qualls's high-handed lines, there's just too much bad in this movie for one reviewer to handle. As if there isn't reason enough to stay away, I'll just end with this: Geraldo Rivera makes a cameo, yes, Geraldo. | | | | | They are cute, cuddly, and now there's SIX of them! Get ready to spend some time with the chipmunks and chipettes in this kid friendly sequel. Alvin, Simon and Theodore are still rocking out to some of the greatest music ever created, and the chipettes add a more modern flair to the film as they sing contemporary hits. Did we ever think we would see chipmunks singing 'Single Ladies' by Beyonce? It is quite hilarious since they throw in the dance moves along with it. This movie is not about the musical performances alone, as they are very secondary to the plot. Alvin, Simon and Theodore are doing something they never imagined...going to school! The horror! They must make friends, adapt to their surroundings, and learn to deal with being bullied along the way. Then there is the matter of chipmunk lust/love to handle also. Leave it to three female chipettes to shake things up for the boys. Oh my, what a lot for three little chipmunks to take on in only 90 minutes. They do it smashingly and give the kids in the audience lots to smile and laugh about consistently. As an adult, do not be surprised if you are laughing too, especially at Theodore. He is so sweet and adorable you just wish you could grab him off the screen and take him home. Ah, Theodore. | | | | | When chronicling an individuals' past, especially an iconic figure, it is essential to give a fluid representation of time and place and motivation. This movie neglects to adhere to a any sort of real structure and briefly glances over most of Amelia Earhart's life; it's only explanation seems to be the repetitive notion that "she must fly" to give reason to the entire film. Instead of a well-rounded depiction of her life and story we are given small moments that only occur after her rise to stardom began. There is no backstory to this film as it solely represents the Amelia the public may have known. A choice was made with dire results as instead of seeing a rare glimpse into her private world, you are merely given a live action newspaper re-enactment. | | | | | "All that poetry and all those songs for something that lasts no time at all." Seventeen-year old Jenny, played by an amazing Carey Mulligan in a breakthrough performance, says this line after her first experience with sex. She isn't necessarily disappointed, but rather enlightened with a new perspective. It's as if at that very moment she realizes that losing one's virginity is not the end all of becoming a woman, but merely one of the many unrelenting life experiences to come. Jenny matures right before the audience's eyes in a matter of seconds and it's truly a cinematic miracle to behold. The viewer is fortunate enough to witness several similar moments of instantaneous clarity as "An Education" is a coming-of-age story about a teenage girl in 1960s London, a time when life was still quite Victorian as the Beatles had yet to arrive on the scene. The primary vehicle in which Jenny receives the majority of her education is not via school, but through her relationship with an older man twice her age (Peter Sarsgaard). The situation would be questionably creepy if not everyone, including Jenny's own parents, was so accepting of the circumstances. It is indeed true that coming-of-age stories have been done dozens of times before, but it's been a while since it's been done with such precise simplicity, sophistication and class. The film comments on the merits of going to school vs. living life, the 1960s costumes and production design are flawless, but whom we really adore is Jenny. Near the end of the film she states, "I feel old. But not very wise." Jenny knows she still has a lot more to learn despite everything she's been through. We only wish we could continue to follow her education because the few lessons we've shared with her so far have been near perfect. | | | | | The film offers up a great mystery that will grab you along for the ride. By blending the scientific with the religious there is a constant pull between what may be proven and what is based on faith, making for an experience that is highly gratifying. Even though it never quite builds up the suspense as much as one might expect, it still satisfies in the final moment. | | | | | Please refer to our Frame of Mind section for the full review of this film here. | | | | | Action. Suspense. Great twists. Explosive thrills. If only I was talking about this film. It is not all bad. The last five minutes were decent. The rest is completely formulaic. There is nothing wrong with formula if it delivers as it should but Armored does not. The story does not move fast enough and with the circumstance the characters are in it feels way too slow. These are men trying to pull off a heist of massive proportion when something goes wrong. They only have a small window of time to fix it and therefore succeed with the plan. If that is the case why does it feel like ages before anything happens? Or something exciting? So much time is spent trying to decide what to do that nothing ever really gets done, until it is too late. Not even a dose of witty banter between the guys or moderately funny jokes exists. If it were not for the consistent banging of metal occurring in much of the film I may have fallen asleep. This movie should have been a thrill ride but instead it feels like a ride that broke halfway through and now you are stuck on the tracks without a means of exit. | | | | | This film provides for a great action adventure story that will leave you feeling fulfilled. It takes a very intelligent scientific stance on animated films and never once plays the cutesy role of trying to entertain a child. What you get is a well-rounded real story with a very large adventurous spirit. The main character, Astro, holds an idealistic sense of wonderment throughout that is apparent in the wonderful rendering of his animated eyes and the well chosen and placed dialogue in the story. This film may have very dramatic undertones and deal greatly with a caste system and equal rights but it maintains a childish sensibility throughout; making it an excellent source to learn an important moral while being fanciful enough to make someone want to pay attention and gain greater knowledge about life lessons at the same time. | | | | | There are few, if any, words to describe the shear magnitude of awesomeness this film provides for a lover of cinema. It takes you back to that place where movies were meant to be seen on the big screen. No, not the big screen in your living room but the one at the cineplex. Avatar is an epic movie that will go down as a groundbreaking achievement in special effects. Every film in the future will be compared against it and the level in which they must reach to match its perfection in craft is immeasurable. The only downfall of the film is the lack of uniqueness to the actual plot. The man vs. nature, profit over humanity, and all the other tried and true themes that litter science fiction cinema are ever present. What makes Avatar so unique though is the visual imagery and creative imagination behind the spectacle that is the world of Pandora. Any misgivings you have with the plot and any moments you come across where you realize you may have seen this before in another film are all but disregarded. The experience of what you are seeing, hearing, and feeling take control instead. You do not care that the writing is sophomoric. Or how many of the characters are typecast to exist in a science fiction and/or action movie. The story keeps you engaged but it is the wonderment you feel and the awe inspiring effects that make it a movie you cannot wait to watch at home. It must be seen in the theatre, and in 3D preferably. If this is what movie goers get every 12 years from Director James Cameron, plus around 300 million dollars, then we should all happily anticipate what he will deliver in 2021. I will be shocked if he can outdo himself but I am excited at the prospect. | | | | | If a holy entourage consisting of Jesus, the prophet Muhammad, Buddha, Ra, and any other deity went out to catch a midnight showing of "Avatar" even they more than likely declared, "Yahweh!" at one point during the movie. No matter who you are and what you've seen before, this is simply a technically and visually impressive film on the grandest scale. The writing, okay, it could use a little work. The siding with the natives storyline has been done in half a dozen Westerns before, the characters are a bit flat, the dialogue is often hokey and obvious, and the go green, anti-Iraq, machine vs. nature messages are pretty high-handed. But who cares! "Avatar" is the extremely rare exception to the rule that story is everything in that the actual experience actually transcends the narrative. Director James Cameron is clearly some kind of wizard straight out of Hogwarts because he manages to bring magic back into the Cineplex. In an age where the average viewer can simply wait four or five months for the high-definition Blu ray or download the movie illegally onto an iPod, here is a film that finally demands you to watch it at the theater multiple times, an experience worth your ten plus dollars. Can't afford a family trip to Disneyland this year? That's okay; take everyone to see this film in 3D instead. Watching "Avatar" will completely transport you to another world, it will capture your imagination, and it will reawaken your inner-child, reminding you why you fell in love with going to the movies in the first place. | | | | | The film offers a mildly funny look at the trials and tribulations of a High School Senior as he deals with finding the perfect Prom date and changes in his family life. That said, it should not be seen as a teen centered film as it deals with much deeper themes of commitment, friendship, and familial bonds that involve all of the characters. This movie is rich with sentiment, heart, and love that will give the viewer a positive feeling as they exit the cinema. | | | | | A world of peace and love and prosperity. Sounds like a dream. As with any dream, you have to wake up - and the inhabitants of Terra must do just that in order to save their home from being destroyed by the humans. The film does not attack the human sensibility, as it presents people who are both for and against the war; even if it does give more time to the ones for it but well, there has to be an enemy. What this movie does show you is how compromise, communication and understanding can help overcome any disagreement or conflict. This film gives hope that a peaceful existence is possible if only given the opportunity; and that just may start with befriending someone who is different from you, your world, or your customs. | | | | | The film is highly entertaining, exciting and imaginative for both adults and children. The comedy works on a variety of levels and the visual and special effects are a joy for the eye to reckon. The underlining message of the use of imagination is refreshing and leaves the viewer wanting more of this magical world created through the eyes of children and adults alike. | | | | | The concept of a world gone blind is exciting, and fearful. Watching it play out on screen is thought provoking and definitely stirs up all sorts of anxieties about life and existence, and the animal instincts that are awakened when people are stripped of any remnant of a controlled society. With all this potential it is unfortunate that the film is not wholly entertaining. You find yourself lacking the engagement you desire from a movie and the seriousness is lost throughout by characters actions or the disbelief in many of the occurrences. Although the story is strong, the actual plot fails to deliver. | | | | | The overall premise for the film may appear to be funny but the actual movie given to the viewer is anything but satisfying. There is no real comedy or level of sentiment to the story and it fails to enthrall or delight the viewer with the characters antics. Instead you get a large amount of whining and screaming from the women and passive aggressive men who are merely there as props who occasionally say something but no one is really listening. | | | | | The ill-fated romance depicted in Bright Star may not reach overwhelming proportions in terms of romance, but it still delivers a conventional and heartwarming love affair. Between the under appreciated poet Keats, while living that is, and the eccentric fashionable girl next door Fanny, a honest and forbidden love blooms in this movie that will make you laugh, cry, and yearn for a simpler way of life where walking in the park or holding hands meant more than anything else. The movie itself plays like a poem on screen, filling you with deep emotion drawn from despair, heartache, love, comedy, respect, and most of all an undying connection between two people that no place, circumstance or person could tear apart. | | | | | The camera cranes above in a wide aerial shot of the Brooklyn Projects. Large sterile identical buildings litter the ground of this place, mimicking the perception that a people, not people, inhabit their walls. Different divisions of the Police force patrol this area, or are encased in it as undercover agents. The film takes us into their lives and their struggles. It offers us a glimpse into a place that is broken; overrun by drugs, dirty money, and unspeakable crimes. This is a dark world that Director Antoine Fuqua invites the viewer into. Where suspense and turmoil are at every turn and it becomes difficult to separate the good from the bad, the redeemable from the lost. | | | | | Made up of two drastically different plot lines that inevitably come together in the end, Brothers is full of so much tension and anticipation you forget all time exists while watching. It is about two very different men. One the decorated marine with the beautiful wife and children; a picture perfect life. The other an ex-con who has never accomplished anything or had a goal to speak of besides trying to break free of his older brothers shadow. When the marine, Sam (Tobey Maguire), is believed dead in Afghanistan his brother Tommy (Jake Gyllenhall) takes it upon himself to step in and help with his children and widow. Then things start to get complicated (and very interesting) because while everyone at home is grieving and trying to move on with their lives Sam is a prisoner of war facing the unimaginable and doing things one cannot even fathom ever coming to terms with. This juxtaposition of tone in the film is done wonderfully by the Director Jim Sheridan as he glides between home and Afghanistan. One moment you are in the trenches of the desert, watching a marine harden and change before your eyes. The next finds you at home where everyone is experiencing playful times. The viewer knows Sam is alive and it only makes the sexual tension and relationships that are building at home appear even naughtier than they normally would. A constant state of will they or won't they, will he make it home or will he not, is there hope for a man to live a normal life again after what he has seen and done...the questions are endless. With all of the questions it raises it never completely provides answers. I think this is one of the strongest features the movie holds. Nothing is tied up into a neat little package at the end. All is not forgiven or forgotten. Life does not ever return to normal. Everything has changed but as a viewer we will never fully know the fate that awaits the characters. We do know one thing for certain, if anyone ever finds the videotape all hell is going to break loose again. | | | | | Here is a film that is ferociously ridiculous, outrageous, and thoroughly remarkable. It is full of comedy but also stages commentary on societal norms, inherited culture, pop culture, and morality. You never know what is going to happen to Bruno on his journey and as the film continues you just get one shock after another after another. It may appear staged at times but it is a mockumentary/narrative feature so this should be expected. Just sit back and enjoy the hilarity that is Bruno; and realize there is no preparing yourself for this movie. (Warning: If you cannot see the humor in society, its stereotypes and ideology, and realize that sometimes what we need is a humorous view on certain subjects to break down the barriers that exist between people, this movie may bother you at times if not offend.) | | | | | Please refer to our Frame of Mind area for the full review of this film: Centurion Is Bloody Good Fun by Kathryn Schroeder. | | | | Review Coming Soon | | | | | Into the small world of the Courtesans the film dives directly and offers the viewer a delectable glimpse into the glamor, the mischief, and the heartache of a questionable profession. The variety of characters with their own specificities are hard to resist, and the remarkable settings paint a picture of a fantasy world with the vibrant colors and breathtaking countryside. With Michelle Pfeiffer (Lea) as the aging Courtesan who finds love where, and when, she least expects a ripe story of love and loss is portrayed and she gives a performance with such beautiful vulnerability and strength you cannot keep your eyes off of her for a moment. It is by far a film you will not soon forget, or guess as to what it has in store for the characters, and the audience. | | | | | This film may not be for everyone. The subject matter is not easy to handle and much of the dialogue is not for the faint of heart but it is an exceptionally fulfilling film. For being made on such a small budget and with a very tight shooting schedule it made the most of a though provoking character driven adaptation that is worthy of your time. | | | | | Albeit this is an entertaining movie, but nothing really unique or striking goes on throughout. It follows the good vs. evil formula to a tee, and throws in a bit of the whole finding yourself and learning to stand up for what you believe themes, but the story itself is old and tired. The only new spin is incorporating the freaks into the mix but even they are a very small part overall of the plot at hand. Even with a dose of PG action the movie just never quite gives enough to satisfy completely, but it does not falter in making you feel it was a complete waste of time. Given this is the first installment is what may be a franchise you do feel a tinge of hope for what will come next in a sequel for that it seems is where the real fun shall begin. For now, you just get a tiny dose of enjoyment and a tone that is always fun and playful. | | | | "City Island" is a film built upon a foundation of family secrets. Small secrets have the ability to corrode the bonds between even the closest families and the Rizzo family is no exception. These hidden thoughts, habits and motives may have seemed harmless enough to keep, but over the years they have grown large enough to tear a hole in the Rizzo family bond. The lies that were meant to cover up something minorely shameful, ended up causing even more miscommunication and pain. Andy Garcia plays prison guard Vince Rizzo, a man who finds quiet release in taking acting classes. Rather than tell his family about his newfound interest in the dramatic arts, he decides to conceal it to avoid being made fun of and seen as less of a man. This tiny lie is misread by his wife, Joyce Rizzo (Julianna Margulies) and, instead of demanding an explanation, she jumps to the conclusion that he is unfaithful and vows to get even. Their daughter, Vivian Rizzo (Dominik Garcia-Lorido), has dropped out of school because of financial issues and has taken on a rather unsavory occupation. Their youngest son, Vince Jr. (Ezra Miller), is dealing with his newly forming sexual fantasies. Ironically, it only takes one person to enter the home of this tight-lipped family for all the secrets to come spilling out. Tony Nardella (Steven Strait), an inmate that Vince took a special interest in, was released into the custody of the Rizzo home. He becomes an innocent bystander that gives the audience a more grounded perspective of the family relationships. However, in a bizarre twist of discovery, we find that Nardella may not be exempt from the secret keeping after all.
Although "City Island" has a relatively simple premise and plot structure, it is a film that is so tightly wound and clean that it moves along like a well oiled machine. The film never loses the audiences' interest because it has layers like an onion and to watch this film is to constantly peel back layers of secret meaning. This film is is heartwarming, serious and back breaking funny; but perhaps its best quality is that it is uncompromising and brutally honest. | | | | "Your money would be better spent on lottery tickets." - my unfortunate movie companion to "Clash of the Titans".
After the above comment I do not think there is any more that needs to be said in regards to the Production of this film. What I have written so far has consumed more time than the film is worth. | | | | | It's raining every type of imaginable food, and I like it. This movie may not be full of laughs but it is full of visually delightful animation and has a great moral at its core: accepting people for who they are and loving them all the more for being unique. With the not so mad scientist Flint creating food out of water all sorts of chaos breaks out when the 'food weather' takes a terrible turn for the worse. That is when the real fun begins and the action adventure element of the story takes flight, literally. Be prepared to battle evil Gummy Bears and headless chickens defending their creator. Along with a wonderfully greedy, obese and grossly excessive town Mayor. There is also a really sweet love story thrown in between Flint and the weather girl, Sam Sparks. If you want something entertaining, light, and fun for everyone this film will not disappoint. | | | | | A delightful film that is fun and enjoyable with enough lightheartedness to keep you upbeat throughout while adding a dose of drama to keep you engaged. It serves its purpose as pure entertainment while serving a small dose of romance and the theme of finding ones self. Not to mention it is a hyperbolic explosion of color on screen. | | | | | To put it quite simply...the movie does not work. It has a storyline, about a baseball card that gets stolen, that branches out into so many directions your focus is forever lost. One second it's all about the card and the next a gang of drug dealers. The buddy cops, Willis' Jimmy and Morgans' Paul, are a definite odd couple in the worst way as the differences in their characters and delivery do not complement but actually alienate. Paul is such a simpleton you are shocked they allow him to carry a gun. I suppose that in itself is a joke against the police force but still, you almost feel sorry for him and his inability for intelligent and skillful thinking. As for Willis' Jimmy, he must have forgotten this is a comedy as I fail to remember anything remotely funny come from him or if he ever cracked a smile. The movie may have its comedic moments but as a whole it is not worth the time it takes to watch the trailer. | | | | | Although the film is visually remarkable and inventive the story is not very exciting. It takes you from the real world into a fantastical place where a child's dreams appear to be fulfilled, but only if one is willing to let go of their soul. The eyes are seen as the gateway to the soul and in order to live within this fantasy world Coraline must have her eyes removed and replaced with buttons. What at first seems to be the greatest place to live turns into a living nightmare, but not one that really makes you fear for her safety or future. It does make you happy that finally there is some sort of suspense and action, albeit towards the very end. Any form of remark about the film is sure to be the "look" of it, not the actual story and/or plot. | | | | | Marriage is difficult and it takes some effort to make it work. Well, duh. It doesn't take a tropical resort vacation to figure that out, but that's basically all that happens in this movie. Jason (Jason Bateman) and Cynthia (Kristen Bell) are having problems with their marriage so they decide to go to a couples therapy paradise called Eden. The problem is they can only afford the trip if they purchase the group rate. Ding, ding, ding, ding, ding! The bells of convenience ring as the rest of the characters just drop their lives and come along for the painful ride. That's mostly what's wrong with this movie; everything from the overly convenient plot, far too attractive wives, and the glossed over happy ending screams out fake plastic trees Hollywood. We don't feel sorry for these characters because they're not characters, they're just some likeable actors having a grand old time in Bora Bora. The great cast looks like they had fun during their time together; our time however, is wasted on an unromantic, unmemorable, and banal piece of filmmaking. | | | | | The entire film is merely an excuse for excessive violence, swearing, stereotyping, and nudity. The actual story is so ridiculous it is laughable while it has been shot with a video game aesthetic that can be utterly annoying and disruptive giving you little if any time to ever gain focus. | | | | Review Coming Soon | | | | | With great relief this film moves away from the standard immigration story (Mexico and the U.S.) and portrays a variety of people from different Nations attempting to become nationalized in the United States. The promise of the film as a whole is great but the actual delivery is not the greatest. The film is not boring, it will keep you in the moment because of the multiple story lines and the over the top actions of some of the characters; it is touching, moving, angering, even heart-wrenching at times but it lacks something. Something that cannot really be described, only felt. You leave the theater unsure, not really knowing if you enjoyed or film or not, but having learned something regardless. | | | | Review Coming Soon | | | | | In an attempt to escape the monotony of marriage, Clara (Tina Fey) and Phil (Steve Carell), head out for a night on the town. The result of this escape from the humdrum is a film bordering on just that; leaving the viewer to ponder whether staying home with their kids, a good book, or even quiet solitude would have been time better spent. There is simply not enough of an upbeat temperament to the film. It continually reminds us that this is a couple who lives a life lacking in excitement. They do not bicker, for these two people do honestly love and like each other, but they never let loose just enough to give the movie a hell on wheels level of excitement it desperately needs. When things do pick up everything suddenly comes to a crashing halt as marital counseling sessions make an inappropriate appearance. Time passes slowly as they meander through the city on the run from two corrupt cops who have been mislead that they are another couple. The role of mistaken identity is far too simple and the stupidity of all involved who believe Clara and Phil could be masterminds behind stealing from one of the most dangerous mobsters in town is hilarious in itself. It is a shame that the movie falls below expectations and is no more than a sad excuse to believe entertainment could be derived from placing two popular comedians on screen together. It takes more than star power to make a comedy great, as this film demonstrates quite clearly. | | | | | From the first blood curdling scream of a child a mere minute into the film you think to yourself...this should be an interesting ride. You are right. The plot is interesting. Almost the entire world population has turned into a Vampire and they run things now, using humans as a means for blood through harvesting. The problem is that the human race is dying out, and the blood reserves are empty. The entire world is starving and without a solution the Vampires will die also. This epidemic they are facing is allegorically presented in relation to world hunger which gives the movie a grander meaning when looked upon closely. They are also inevitably searching for a cure for humanity itself. To be rid of the soulless undead who are full of greed and power from their presumed invincibility. Not only do get a horror/thriller/science fiction film full of deeper meanings and tons of metaphors but it also delivers on the action and conspiracy levels. It may not be extremely fast paced as it does take its time moving along but it never puts you in the place of feeling like you are waiting for something to happen. You may think it takes itself overly serious at times but it is trying to be more of an intelligent horror film. No harm in their attempt as far as I could tell. When it fails at the seriousness just laugh for a second. Laughing is never a bad thing. | | | | No one can forget the rush of a first love; the excitement, the uncertainty, and quite often, the resulting pain. Savannah (Amanda Seyfried) and John (Channing Tatum) meet on the beach while vacationing one summer. From the moment they meet there is an undeniable connection between them and, after falling in love under a moonlit sky at a backyard barbeque, they are completely inseparable. The problem? They only have two weeks in this beachside paradise until they have to return to their respective lives. John is a soldier on leave until he recovers from a minor bullet wound. Savannah is a university student strongly involved with special needs children. In order to make their relationship work, they decide to correspond through detailed letters while he is deployed.
Dear John, a film by director Lasse Hallstrom based on the Nicholas Sparks book by the same name, attempts to capture the intensity and intimacy of a new relationship. While the film does have the audience blushing, smiling and crying right along with the characters, it also uses almost every cliche ever written and never really allows for any character development. Instead of revealing the inner thoughts of the characters, the film offers a very external view of their relationship. Therefore, although their relationship is sweet, the viewer is never akin to its depth. Dear John also has very poor transitions between scenes and the emotional impact is often cut off at the knees because the film rarely allows emotional moments to linger and fully develop. This results in a film that constantly feels a little bit like a trailer: the emotion and sweetness may be captured brilliantly, but at the film's end, we still don't feel like we really know Savannah and John, we just know what they do and what is happening to them. | | | | | Death does not have to be serious; and this movie shows us it can be downright hilarious. Revolving around the funeral of a beloved father, uncle, friend, and so on, the movie may appear to be about the grief of a family. It could not be anything further from it with excellent results. The funeral may hold the movie together but it is the constant dosing of comedy that keeps you entertained and loving every single moment. As secrets are revealed and decisions made you come to love this dysfunctional family for with everything they do, it is done with care, concern, and love. Even if it is in the most outrageous and out of the ordinary methods. | | | | | What could have been an epic story about fighting for ones survival against oppression and evil is instead a melodramatic bore. As a viewer you | | | | | For someone so despicable, Gru sure does come across as a bit of a softy and kind of lovable. It might have something do with the continuous use of playful music that accompanies his evil doings or the plain fact that he is not your average evil mastermind. To be honest, Gru is not a very successful villain. His plans never match up to the expectations. He did steal the Eiffel Tower - the one in Las Vegas. Same goes for the Statue of Liberty. By having Gru play at being a mean old grinch of a villain only makes the movie stronger as it is not really about his plan to steal the moon in order to become the greatest villain of all. A title that has been bestowed upon his newfound nemesis, Vector. This movie is actually about family and opening your heart up to love. This part of the plot coming in the form of three orphan girls Gru adopts as a part of his moon stealing plan. As plans go, especially with Gru, things do not always turn out how they were intended. Despicable Me ends up being a feel good movie as Gru and the girls bond over time. As much as it would have been nice to see the story line of Gru vs. Vector elaborated on a bit more you walk away satisfied because of the sweet sentiment Gru develops and the love he ends up sharing with his girls. In the end Gru becomes an unlikely hero, in both his personal life and the villain world. | | | | | Do you remember the days of debilitating, nay, paralyzing self-doubt? The torturous days in the gridlocked classrooms of what is more formally known as Junior High school? As our hero Greg astutely remarks, it's the place where "parents dump their kids so they don't have to look at them" while they're going through this awkward stage. As much as you may have hated being in middle school, Director Thor Freudenthal's children's film "Diary of a Wimpy Kid" does a great job of putting you right back in the shoes of your sixth grade self. Suddenly we are transported back into a world in which following the social rules and regulations imposed upon you by your fellow classmates become of utmost importance. Our guide is Greg Heffley (Zachary Gordon), a precocious sixth grader whose goal is to make it into the yearbook as one of the "class favorites". In order to reach his goal, he does everything he can to try and be what people want him to be. Ironically, everything he tries gets him bumped further and further down the ranks in popularity. Greg becomes the perfect narrator to guide us through the ups and downs of middle school life precisely because he is not one of the cool kids and has a removed perspective. Zachary Gordon is able to portray the blindly self-confident Greg with just the right amount of cockyness and vulnerability to make you feel for his every success and failure. Greg and his best friend Rowley Jefferson (Robert Capron) have great chemistry that the film is essentially built upon. Capron plays the bumbling, good-natured Rowley with just the right amount of spunk and naivete. In this heart-warming film about learning to find your own voice, your spirits will be lifted and you will find yourself turning back into your middle school self: bad hair, braces and all. | | | | | Take an estranged couple from the big city and place them in a small town together without any outside communication. Sounds like a recipe for a great romantic comedy. Think again. The movie spends a great deal of time poking fun at small town life and belittling the people who live in Ray, Wyoming so it forgets to actually develop a romantic comedy. Sure they throw in a couple of funny scenes between the couple, Meryl and Paul, but they are short and not so sweet. Meryl continually comes across as a bitter, miserable New Yorker who is more excited over a ten dollar sweater than getting to know her husband again. Paul is but a bumbling idiot for the greater duration, trying everything in his power to win Meryl back and only looking pathetic in the process. Do yourself a favor and watch a tried and true romantic comedy you have seen before. Time would be better spent in repeat then a first look at this pile of worthlessness. | | | | | An easy task of bringing a schmuck to dinner ends up turning Tim's (Paul Rudd) world upside down. For the viewer, it also gets a bit bumpy along the way. All Tim wants is a promotion to the 7th floor. As his assistant states, their floor smells like cabbage and she needs to get away from all the loser's. His quest for respect in the company and the oh so bright new office can be attained if he manages to pull off one thing: find the perfect schmuck to impress his boss at the annual idiot dinner. The moral dilemma of agreeing to openly exploit those who are different runs deep in Tim but when he meets Barry (Steve Carrell) he sees just how easy it can be and the harm of it all is easily overlooked. Befriending Barry, the taxidermist who recreates famous paintings, moments in history, and the like with dead mice, is not just a one night event for Tim as he had planned. Barry shows up a day early and the next twenty-four hours of Tim's life involves one catastrophe after another. The majority of the movie is spent during the hours leading up to the dinner. We follow Tim as he tries to mend what Barry consistently breaks in his life. It is all well and good as the comedic moments remain steady but the impending dinner feels far away consistently when it is what you inevitably crave to see as time goes by. This is not to say the film bores you with too much material beforehand but it does lack a strong focus throughout. You are never quite sure what the main plot is exactly as you are bombarded with quite a few different storylines all involving the same characters and none of them are very interesting or different from what has been done or seen before. All of the lines of action do not get resolved until the end so the amount of questions that build upon each other throughout become overwhelming. What seems to be a simple comedy becomes something that is simple, but convoluted at the same time. | | | | | You should already be at the theatre watching this movie. | | | | | The subject matter may not be for everyone but this is a very well done film. It has drama and suspense and mystery all rolled up into one. The film is filled with moments that you may not soon forget and revelations that cause you to gasp. | | | | | Finally a horror film that fulfills its purpose - to scare you (and make you laugh in that way only campy horror movies can). | | | | | Here we have a decent adventure story that takes you around the world to a variety of magnificent places. It can come across a bit childish at times but is still enjoyable enough to watch for the duration. | | | | | The charming smile of Clive Owen (Ray) could not save this movie; or the star persona of Julia Roberts (Claire). It is quite frankly, a horrible mess. The entire film moves back and forth in time as the character's plan their con. The problem: you never know where in time you are, how you got there, or what is going on. By the time these questions are explained you have lost interest from being thoroughly confused the moment prior. It is an intriguing plot but the structure completely ruins it for an audience member. It is one thing to keep the audience guessing, it is another to completely leave them in the dark. | | | | | The film delivers a good amount of British humor and wit, while dealing with the collision of oppression and freedom in a changing world. It provides a wide variety of characters, all with very distinct personalities and desires, who play off of each other so well at times you may believe you are watching a real family having dinner, or tea. | | | | | This film is just another go at the man vs. his own creation story line; the poor man's Skynet comes to mind. It lacks any sort of new excitement, unless you consider mysterious text messages exciting and fresh. You are purely given a tired story that would fare better on the small screen, as a movie of the week, then in a theater. | | | | | A mystery thriller with little thrills and a mystery so overinflated you forget half of the pieces before the middle of the second act has played out. There is simply too much talking and explaining without enough revelations to keep the pace moving and your brain from wandering. Each moment you feel something big is coming it does not arrive. You are forced to keep waiting while given more and more information. When all has been divulged and the mystery is solved you simply sit back and realize you have known the answers for a very long time. The film just would not stop itself from going further than need be. | | | | | Family. Such a small word holds great meaning. This film takes the idea of family and examines how the people we think we know, those we love and care for, are not always whom we perceive them to be. As Frank ventures out on his journey to see all of his four children, after they have inadvertently cancelled on him to come and visit, he uncovers an unexpected truth about all of them: he does not know them at all. Just like the pictures he takes with his camera (with real film no less) of his children, the picture Frank has in his mind for them is a mere production. The reality is much different and very much an awakening for a father such as he who has spent his entire life expecting so much, and in turn never knowing the truth. With this comes the reality for Frank and the viewer how the pressures of family resonate in all of us throughout our lives. The solution is acceptance, something Frank discovers along the way providing the viewer with a heartfelt, warm and touching story about family. | | | | | Welcome to the workplace, enjoy your 90 minute stay...or not. Many of us go to the movies to escape from our reality. This movie offers little escape. Set in a suburban factory it is full of the archetype personalities you find everyday in your own world and some you hope to never encounter. There are multiple storylines and the unfortunate result is that they never fully come together in the end as planned. Perhaps that is the point, for when dealing with life nothing ever fits together perfectly into a little box. Then again, this is a movie, and cohesiveness is always something desired and needed. Regardless, you may be laughing throughout even if the end result leaves something to be desired. | | | | | For all the attempts the film makes to garner empathy from the viewer it is ultimately unsuccessful. Focusing on the need to develop a cure for a rare disease called Pompe, in which the main characters children are suffering, it delves into the politics of drug manufacturing and the trials of a family dealing with the foreseeable death of two adolescent children. The subject matter is heavy but the movie neglects a more melodramatic tone for sarcasm and jokes. Every moment that should be dramatic and touching is interrupted by a joke or sly remark. It ruins the entire scope of the film as the audience member is constantly torn between seriousness and comic relief. As the viewer you walk in knowing what to expect, melodrama. Why the filmmakers chose to offset this at every turn with pointless humor that feels completely out of place is a mystery. The end result is a film that could have given rise to emotions in the viewer that were deep and heartfelt. Instead you feel practically nothing up until the end and even then you are indifferent to the outcome. Its only redeeming quality is how it showcases the methods and decision-making of drug companies in the modern world. It never falters to tell the truth of how decisions are made and the altogether shady practices and consistent neglect for human welfare. The picture it paints is not a pretty one but it is honest. If anything the film does give the viewer one thing to go home with, knowledge. | | | | | This entire movie focuses on a variety of students at the Performing Arts Academy and their desire to "make it" in their respective fields. The issue is that the movie cuts between each of these storylines so quickly it only gives you a brief look into what makes these characters click. There is such little development for each character that caring whether or not they "make it" is impossible for the viewer. Not to mention how the film jumps around so quickly between school years that nothing is ever fully resolved. The ending gives you an idea of where they may heading but the excitement you could have felt for them if the film had given you the chance is invisible. This can only be due to the bad movie-of-the-week acting and poorly written script that includes little if any backstory for any of the characters. It would have been better to just show people singing and dancing for almost two hours then to try and attempt to develop a plot or cohesive structure. | | | | | This film would have been better had it stuck to what it is, an action movie, and not tried to dive heavily into drama and the solving of a crime. It is not terrible to watch as it has its moments of fun and excitement but overall it just barely delivers on its expectations. Plus, it does not have that one line to remember the hero by; a sad oversight on behalf of the screenwriter. | | | | | The film moves along incredibly slow and possesses no real substance. There is little, if any, character development and it fails to show you just why this guy from the streets is seen as such an excellent fighter for he never proves himself to the audience. Without this very important element in the story you are left with nothing to grasp. | | | | | Given the fact that this movie simply reuses much of what has been seen in other teen comedies it becomes very dull, very fast. The characters are not original and the plot is wholly predictable. One would do better to watch an old teen movie that you know delivers what you desire. | | | | | Here we have a story full of both revenge and redemption, focusing on two peoples complicated past and the one moment which brought them together. By showing the past through flashbacks through the minds of the two main characters you are given a window into the world they lived in, and the different world they inhabit now. As the story unfolds it only draws you further into their mindsets and the difficult choices they have to make in order to forgive, not only one another but themselves. | | | | | The story is interesting, and watching him fight for credit is dramatic. Overall though the film just does not do much for the viewer. You are never fully emotionally invested in his fight, and you actually find yourself questioning his actions far to many times as you should a protagonist. Watching the little man succeed is always fulfilling but getting to that point in the film is slow and unmoving. | | | | | If you are looking for a film that will make you laugh, you have found it. The story is enjoyable, as our the performances by an ensemble cast. It it overall a film that serves its purpose, to entertain. | | | | | This film is an appalling addition to the horror genre. It spends an incredible amount of time on a storyline that is boring and predictable and even less time giving meaning to why Jason kills any of the characters. It goes against the standard horror movie format and by doing so delivers nothing to the audience that is entertaining, scary, or new. It instead offers an absurd plot and acting that goes beyond bad, even for a horror movie. | | | | | Ahhh, an action buddy flick with panache. The quintessential pairing of an odd couple, to an extreme, is what we find in this film. On a mission that is never clear, with a plan that may as well be hatched out of a mad mans brain, Wax (John Travolta) and Reece (Jonathan Rhys Meyers) make their way through the story by shooting, mutilating, and contorting bodies with grandeur. Reece is a mere prop though in comparison to Wax, the true scene stealer and a riot in his antics. Wax can take down six men in a matter of seconds, and come out smiling ready for more. He is the equivalent of a good Cocaine Cowboy, so to speak. A cowboy that will have you laughing over his disregard for political correctness and inability to hold back any thought or idea that may come into his mind. Travolta appears to delight in playing Wax on screen and the enjoyment he is feeling radiates to the viewer. Wax is a man who loves what he does, and we love him all the more for how he does it; with robustness. The movie has the action to sustain itself, enough intrigue and mystery to keep us wanting more, and an all around comical infrastructure that makes an action movie, and this one in particular, a pleasant diversion. | | | | Review Coming Soon | | | | | On paper the idea of meditating on life, death, one's decisions and the subsequent consequences through the eyes of comedians sounds amazing. Throw Director Judd Apatow into the equation and one fills up with warm excitement. And yet, the movie never really works. The film serves as a behind the scenes look into the comedic writing process, but the audience is ultimately still left in the dark. It tries also to be an insight into a typical comedian's life: the struggle, competition, fame, loneliness; but the audience never really feels any of it. It's as if we’ve been invited to an intimate family dinner while knowing in the back of our heads that they don't want us there at all. Add to all of this a slow moving 146 minute running time and the outcome is an ambitious challenge for artistic growth that unfortunately leaves the viewer saying, "nice try, better luck next time". | | | | | Every film aimed at children must have a good moral at its core. "Furry Vengeance" achieves this without question. The entire film though is not the greatest. Dan (Fraser) works for a large conglomerate housing developer who wants everyone to believe he runs a green business. When said developer decides to demolish most of the Rocky Springs forest to build a super community the greenness of the company quickly diminishes. Luckily, a very smart raccoon inhabits Rocky Springs and with the help of a few of his forest friends this development will never happen. Unfortunately, it is Dan who takes the brunt of the punishment. The movie starts out with much promise. It is entertaining for both children and adults, has a definitive message of preserving nature, and even shows the importance of honesty in business. It is only as the film continues that the steam is lost. Too much time is spent on the animals torturing Dan and driving him practically insane to really developing anything. There are no real arcs in the story or any type of climactic moments. It simply moves along on a straight and narrow path leaving the viewer dazed and by the end, inattentive. | | | | | From the moment the film begins you discover that it is lifeless. The guinea pig characters are cute to look at, but the personalities each one holds are far from entertaining. They are stereotypical (not shocking for a Disney picture) and repetitive. The adventurous nature of the film one may expect never finds its grounding, leaving little more than a boring story line and forgetful characters. | | | | | As I walked out of this film I immediately knew what I should write for the production portion of the review: avoid, avoid at all costs, save yourself. To merely write that seemed more than enough time and energy to give to a movie such as this. I say this because the film makes absolutely no sense for the most part. The attempts at explanation are so far out there and confusing you never fully grasp how things are happening. The virtual world and the real world tend to overlap which contradicts what you have been told before and then it is never explained how that happened or if it really did. Maybe they were still in the virtual world? I have no idea. From the lack of response from everyone else in the theatre, I do not think they had a clue what was going on either. One part that was entertaining, and wholly unexpected, occurs at the end with Michael C. Hall (Ken Castle) busting into a dance sequence as Gerard Butler (Kable) seethes with anger. That part was fun to watch, unlike the rest of the movie, even if it made no sense whatsoever (well, on that point it makes complete sense to have it in this movie). Save your time, money, energy, and any shred of respect for the movie-going experience you have and avoid this film.
| | | | | The mixing of comedy and science fiction in this film turns out something that is curious for the viewer. To say you will either love it or hate it is not far off from the truth. A host of out-there characters line the screen. Some of which are hard to stomach by their appearance. The writing is superb with its very unique character eccentricities, references to science fiction, development of the story, and how the seriousness that is intended resonates to the viewer as comedy. The final one being what is most evident and exciting about this movie. The seriousness has not failed, as in camp, but was intended to fail; but only where the viewer is concerned. In the movie it holds true and keeps the story moving. This is a serious story, with many bumps along the way for the main character Benjamin, that leave you either laughing or swearing at the screen. No matter how angry you may get or how many times you shake your head in wonderment at just how bad something can look or act in the end you will want to stand and up and cheer. | | | | | It is raunchy, unpredictable, out of control at times, and always hilarious. It is also sweet on sentiment and a story about two unlikely men who form a bond of friendship. Even if that bond if forged through drunken debauchery, prolific drug use, broken relationships, and torrid one night stands. "Get Him To The Greek" contains the mixture of outlandish humor and human emotion that makes it stand apart as it will make even the most stoic individual laugh and shake their head in disbelief at the gaul the filmmakers and actors have to put some of the material on screen for the world to see. As Aaron (Jonah Hill) tries desperately to get Aldous Snow (Russell Brand) to his performance at The Greek Theater he is met with every possible obstacle a rockstar can throw out. This makes for quite the wild ride with a multitude of twists and turns. As Aldous repeats throughout, "This is Rock N' Roll."; if that is true, then more rock n' roll for all of us please. | | | | | This film offers nothing as a whole for the viewer. It is so focused on showing the womanizing ways of the main character that it completely forgets it is suppose to be a romantic comedy. Aside from decent antagonistic banter between Connor (McConaughey) and Jenny (Garner) they barely share any time together that makes you feel these are two people meant to be together. It is regretfully a romance that lacks any real semblance of romance throughout. | | | | | If you can think of all the expectations you have for a film such as this, and then imagine them all being fulfilled you have G.I. Joe. This movie is all about action, playfulness, and pure fun. The story works, the pacing is perfect, all the characters are great, and in the end you are smiling. Plus you get to see so many cool advanced weapons and imaginative technology your mind is constantly in awe. This movie brings back to life the action genre with a whole bunch of imagination and what matters most, great entertainment! | | | | | Great movies transform the bored spectator into an active participant by completely transporting him or her to another world. It could be a fantastical world full of adventure or a bleak reality full of loneliness and despair. Either or, the viewer expects some kind of fulfillment from a film after dedicating two hours of life to sitting in front of a flickering screen. If it's a comedy, we want to laugh, it it's a drama, we long for tension and emotion, and even from a documentary based on actuality, we crave insight and the sense that we learned something new. In a way, "Gigantic" tries to be all of these things, but it fails miserably because it tries too hard to be original, quirky, and to be "real." There probably is a true to life Brian Weathersby (Paul Dano) in the world; a guy who speaks in monotonous whispers devoid of enthusiasm because his life consists of a monotonous day to day routine selling mattresses trapped in a damp warehouse. But who cares? At least 90% of the world's population hates what they do for a living so why does Brian Weathersby deserve a movie? Okay, he's oddly obsessed with adopting a Chinese baby and he gets beat up by an imaginary bum, but these forced eccentricities don't make sense at all and they don't make up for holes in story development. Yes, real life often makes no sense, people come and go, and random things happen out of nowhere, but film cannot function this way. Filmmaking is an art form that requires skillful planning and masterful manipulation in order to simulate real life. It needs to make sense, we need to know characters in order to empathize, and randomness is not a substitute for story. Watching "Gigantic" is like observing people at the mall: it's interesting enough, but a movie? That would be far too boring. | | | | | The storyline is interesting and engaging but it falls short due to the poor acting ability of many of the cast. It is also full of a variety of racist comments and stereotypes that may be offensive to the viewer. | | | | | Where are those pesky WMD's? Good question. The answer is even better. In "Green Zone" an Army Chief (Roy Miller, played by Matt Damon) leads his Unit on the search for WMD's (weapons of mass destruction) in Iraq. After his intelligence keeps coming up short, and completely incorrect, he begins to question just how accurate a source his Country (the USA) is using. This is where the fun begins. The story turns into a full fledged action-packed suspense thriller with twists and turns and cover-ups. It questions who the real enemies are and who you can trust, what information is valid and what is fabricated, and whether the choices made were done logically or without basis leading to a twist at the end that will have you wanting to discuss the possibility, and probability, for hours afterwards. The movie is not anti-American but it makes some serious attacks upon the integrity of the United States' government's personnel while at the same time glorifying other members of the U.S. Government whose intentions are not solely fueled by the desire for power and absolute control. Dealing with a sensitive subject it attempts to answer a question many Americans' have been asking since the failure to locate WMD's occurred years ago and it does it splendidly. | | | | | Ben Stiller is Roger Greenberg in writer/director Noah Baumbach's newest film, "Greenberg". In this zany but honest film, 1970s neo-realism is the name of the game and everything from the zoom shots, coloring, drug use and use of diegetic sound is in line with this. Stylistically this film is refreshing to watch because it plays around with sound, cinematography and point of view boldly and unexpectedly. Roger Greenberg is a man who has just returned to Los Angeles after a year long stint in a psychiatric hospital. He's not crazy though, or at least not clinically; he checked himself into the hospital after having a severe emotional breakdown. Now he has returned to his old life and is determined to keep a safe distance from everyone to avoid leaving yet another destructive path of hurt behind him. Unfortunately, his plans to remain detached fall through. Not only does he reconnect with some ghosts from his past, including a past band mate (Rhys Ifans) and a former flame (Jennifer Jason Leigh), but he also ends up falling for his brother's assistant, Florence (Greta Gerwig). She is not exactly the girl of his dreams, but she is pretty enough to keep him coming back to her. It is interesting to see Roger, an odd and complex character who is blunt to a fault and has obvious anger issues, fall in love with someone as calm and organic as Florence. Ironically, Roger could not be worse for Florence: he has a tremendous capacity to injure, while she has a tremendous capacity to absorb the pain he incurs. However, together they manage to have some pretty spicy chemistry as they suffer each other's shortcomings. | | | | | As a true comedy, this movie has failed. As a showcase for discovering what matters most in terms of family and friendships, it achieves an average grade. Sitting back and watching the very large cast of characters meander through a weekend in the country reminiscing over their childhood experiences is not all together painful. At times, it is quite enjoyable. This is a softer and more grown up, no pun intended, version of the Sandler-Rock-Spade-James-Schneider type of film. No longer are these men playing at being boys but instead they are learning how to raise their own children. That there paves the way for an abundance of opportunities of pure hilarity. The movie never makes it that far though; leaving the viewer appeased with what they have been given but saddened at how so much promise has been wasted. | | | | | If you have not seen the first re-make, by the same director Rob Zombie, of Halloween from a few years ago you will be completely lost during this movie. It is not just a sequel, it is a continuation. The changes made to it, from the first Halloween as the story is almost identical, are detestable. Michael is now lead by ghosts consisting of a white horse, his mother (looking ethereal while being evil in all white) and the remnants of himself as a child. Sound interesting? It's not, even in the slightest. The only really interesting part of the movie is one of the sub-plots involving Dr. Samuel Loomis (McDowell) and his quest for fame and notoriety through his first hand knowledge of Michael Myers past and the prior killings he did. This small fragment of a sub-plot cannot save this movie in any way. Gone is any form of internal desire or deeper meaning to why Michael kills. No, this film is only concerned with showing him kill and the gory mess that comes along with it. This is a sad excuse for a horror movie, or any type of movie at all. | | | | Review Coming Soon | | | | | The Harry Potter films will always be Cliff Notes to the books on which they are based, which inevitably prevents any movie in the series from achieving true greatness. Nevertheless, this installment comes pretty close. Although the mystery behind the Half-Blood Prince's identity is never fully developed, Director David Yate's vision of genuine dread more than makes up for any holes in the plot. Yes, this is as close to a Hogwarts horror film than any film preceding it. The movie is scarier, more art-house influenced, and the most emotionally satisfying of the mythology thus far. Fans looking for PG rated fun will still get their money's worth of laughs, but those craving artistic maturity to parallel Harry Potter's growth will not only be granted their wish, they'll be transfixed with healthy, series-continuing anticipation until next year. | | | | | The world of dating is examined and torn apart in this film and not for the better of the viewer or the characters. The entire movie is spent showing what the women in the film are doing wrong, or how they are wronging others, and everyone comes across as a needy, desperate, and pathetic being. This is not a feel-good movie for the single girl or guy as it does not promote understanding ones self but instead how to play a game with one another and hope you are the "exception, not the rule". | | | | | The film provides a decent mystery but is lacking on the thrills side. It does keep you invested in the story, while making some interesting twists that may leave you perplexed and stunned. Aside from the graphic displays of the victims there is not much else that incites any amount of fear or suspense; although the images will make you cringe and want to look away from the screen. At the core of the film is not necessarily a religious mantra, as the synopsis may imply. This is a tale of revenge, redemption, regret, and the ability to cause pain to those who have caused others pain - whether directly or indirectly given their circumstance. | | | | | The premise is absolutely ridiculous. Come on, a time traveling hot tub, really? But it works wonders for this outrageous comedy that is at times vulgarly delightful and at others sweet on sentiment (the former being greater, of course). The movie revolves around four men. Three of which have been friends since the 80s, and one who is only 20 years old and was conceived in the 1980s. Sounds a tad bit familiar on one angle but it uses the references from other time traveling films, Back to The Future (Robert Zemeckis 1985) most specifically, as a form of pastiche rather than parody or mockery. It embraces the humor of time travel and the ideas of the butterfly effect; showcasing on the idea we have all muttered once or twice in our lives, "If I could go back I would do this, or that, or never ...". The four men are thrust back to one night in 1986 and left to their own devices on whether to follow the same pattern they did before or break the rules and gamble on the future. There may not be much substance to the plot essentially but in the end it is all about the humor and that is perfectly fine. | | | | | With a highly imaginative story that stems from the creativity and skill of the kids and teens the movie is both entertaining and heartwarming. It may center on giving forgotten dogs a home but essentially is about building a family and establishing roots where it seemed impossible. | | | | | A phenomenal animated film that makes you want to buy another ticket to experience it again the minute it ends. Hiccup is a Viking teen who lacks the Viking strength and grit that his father, the leader of the tribe, believes makes a true Viking. The Vikings have been fighting Dragons since the beginning of their time and all Hiccup wants is to be regarded as a true Viking Dragon Slayer, or so he thinks. When faced with his first opportunity to slay a dragon a twist of fate occurs and before long he finds himself a new best friend in the most feared of all dragons. The adventure picks up from this point and weaves its way into an incredible tale of friendship and bravery. As Hiccup learns, to be the bravest of all does not always mean doing what others perceive to be brave but by taking a chance and changing the world you live within. | | | | | With Tyler Perry's most recent parable movie, this experience was the closest I've been to attending church in a very long time. There are lessons on the consequences of committing crimes, having a "whole lot of life to live", beauty being beyond materialism, the importance of family, selfishness, and of course, who can forget true love. Now there is nothing wrong with having faith or teaching positive values, but problems arise when the vehicle that intends to promote these principles is in question itself. In this case the morality lobbyist is the movie, which all together, just isn't that good. Judas is disguised as indecisive tone; the film tries desperately to be highbrow drama, laugh-out-loud comedy, concert musical, and even action in one particular scene. On occasion a film can miraculously weave multiple genres into an Oscar winning masterpiece, but this time around high ambition is more sin than virtue. April, played by Taraji P. Henson, eventually makes her way back to church. The rest of us however, are constantly checking our clocks during mass so we can get back to seeking answers elsewhere. | | | | | This is a cute story about finding the love of your life when you least expect it, or desire. It deals with the awkwardness of dating and the expectations that come along with it in a very true to life form. Humor is found throughout as it develops into more of just another love story and becomes a thorough examination of why we have the relationships we do, and how to move past the barriers we set for ourselves and let someone into our life. | | | | | There is nothing new to see in this film, or anything that has been re-imagined to make watching it worth your time. It follows a seemingly endless formula and besides a few laughs here and there it gives very little. There are the stereotypical teenage characters but none of them resonate any nostalgia or empathy with their actions. Put plainly, you have seen this film done before, and it was much more entertaining. | | | | | The film is a great experience for men and women alike. It is full of laughs and gags that do not go to the overly extreme or come across as contrived. All of the characters are amusing and the actual story is well thought out and poignant. For anyone who has ever experienced the ups and downs of friendships and relationships this movie will surely awaken something inside of you, and make you laugh out loud in the process. | | | | | The third installment in the franchise still brings the laughs and even throws in a bit more action this time around along with a few new characters. It sticks with the general themes of friendship, loyalty and the importance of family but has a unique enough new story line as to not feel repetitive. Overall, it is just plain fun for everyone. (and the 3-D, it really makes no difference, save your money) | | | | | For a film aimed at children and family's it is incredibly slow to get started and very short on laughs. The majority of the movie focuses on Evan's worklife and places his relationship with his daughter Olivia second. For all the ways you want to see the two of men build a strong relationship and have fun together you are never given the opportunity as the movie reverts back quickly to the confrontations and decisions he must make for his career. It does redeem itself in the end but only barely and not enough to make you forget the multitude of boardroom scenes you had to sit through to get there. | | | | | Politics is nasty business. Someone knows something, someone else wants to know, another person is trying to stop everyone from knowing, and another is confused about how he got involved in all this nonsense to begin with. Enter "In The Loop" with its satirical look at the world of politics from both the British and American sides. War is on the horizon, or so many believe, and one paper written by an assistant on the pros and cons of war is about to tear the roof off the Capitol Building and Parliament. Good times indeed. | | | | | Are you in the mood to see a Nazi simultaneously suffocated with a pillow and stabbed in the face? Are you the type of soldier longing to engulf the Third Reich in an enclosed chamber of fire? Well, this movie is perfect for you! There's only one catch, you have to sit through a lot of people talking before you can claim your revenge. Inglourious Basterds is an entertaining movie for cinephiles accustomed to 153 minutes of mostly subtitled dialogue and finely tuned scenes. In all likelihood however, this film will probably be "pretty boring" to everyone else. This is a great movie for movie-lovers in that never before has a movie theater and its projectionists been portrayed as so dangerous and sexy. In this fictional account in fact, it's the movies that literally end the war! Ultimately, it would seem as though all five chapters of the film divide audience reaction on purpose. What exactly is this movie? There's not enough kung-fu explosion to be an action flick, too few laugh-out-loud moments to qualify as comedy, and it doesn't take itself seriously enough to be a drama. No, just as the Inglourious Basterds leave bloody swastikas carved onto their unfortunate survivors' foreheads, this is a genre-defying World War II movie made my a director who always leaves his mark. | | | | | The fantasy journey of the film is entertaining for both adults and children but the story tends to drag on with only sporadic moments of action and adventure, mixed with special effects that are few and far between. Regardless, the premise of the film, bringing books to life and the consequences of such, is enough to keep one happy for the duration if their expectations are kept relatively low. | | | | | "Invictus", which means unconquered in Latin, is the title of a poem that enabled the great Nelson Mandela to endure whilst he was imprisoned for three decades in South Africa by apartheid forces. Invictus, the movie, successfully captures that unconquerable spirit. This accomplishment does not rely on flashy editing or impressive special effects, but rather classical storytelling in a restrained though effective manner. The story of how newly elected South African President, Nelson Mandela, turned to a rugby team to unite his post-apartheid nation is compelling enough and Director Clint Eastwood takes that fact into full account. Younger audiences with attention deficit disorder may disapprove of the slowed pace, but those craving a well-crafted film simultaneously serving as a history lesson and sports entertainment will surely be satisfied. The movie is one part political biopic, focusing on Nelson Mandela's initial efforts to unite his country in the face of racial prejudice. On the other hand, the film is an entertaining, defying all odds feel good sports movie of the year. It should be that cliche completely ravages the film, but in this case the mesh of politics and a happy ending not only works, it inspires. Whether it comes from a president, winning the World Cup, a song, or a poem, inspiration can be a powerful weapon. In this case, inspiration is the soul of the movie. The majority of Invictus takes place in 1995, but a movie dealing with leadership and change never felt more relevant. | | | | | Just when you think this may be a touching story about a father and daughter you find it is merely a film with very poor acting and a story line overflowing with bad melodrama. It would have been better suited as a straight to DVD release or better yet a movie-of-the-week. Then again, maybe it just should never have been made. | | | | | As a sequel this movie plays as a much quieter version of the former Iron Man franchise offering. On its own, it will leave those who have not seen the first film a bit confused and grasping for answers as to whom many of the characters are and the backstory that surrounds much of them. Even still, it remains true to the original as being an intelligent, smart, action film that just happens to involve a man wearing a futuristic armored suit. Mix in a great dose of comedic innuendos, witty banter, superb special effects, and chemistry between characters that is seldom, if ever, found and it all mixes up into one entertaining movie. What sets this film apart from its predecessor is how it focuses more on the internal struggle of the man behind the suit instead of the creation and glorification of the alter ego Iron Man. Tony Stark (Robert Downey Jr.) is dealing with his mortality and in many ways maturing before our eyes. The narcissistic, egocentric Tony still exists but he is more subdued and slightly humbled. This humbling coming in the form of a Mad Russian Physicist, Ivan Vanko (Mickey Rourke), and the very own United States Government. This added dimension of internal struggle does not take away in any form the pure enjoyment factor of "Iron Man 2". It merely makes it a more mature installment, while also producing the popcorn bliss that is watching an action/superhero movie done well. | | | | | We do not need morals. Forget about being the better person. Put aside what is right because it may be fun to do wrong. It does not matter if you hurt someone else when they did it to you first. These are all things this movie teaches us with its unrelenting basis of a plot: the complications of having an affair with your married ex-husband. As much as the film is funny, and quite simply hilarious in some scenes, you cannot get over the fact that Jake (Alec Baldwin) and Jane (Meryl Streep) are being callous and juvenile in their actions. They have little if any regard for the other people who are affected, like their children and Jakes current wife. Nor can you just disregard how Jake cheated on Jane ten years ago resulting in their divorce. He may admit it was a mistake but you never believe him. He is far too flippant in his actions and overly eager to engage in an affair, again. Watching the two of them banter and find themselves in funny situations cannot salvage the film. Underneath the comedy is continually the aching feeling that what you are watching has gone one step too far. All the while completely underusing the comedic genius of Steve Martin, the divorcee architect who is so incredibly sweet in his affection for Jane it is unfathomable why she would choose her cheating ex over him. If there is one thing this movie tells us with complete honesty and for our own good, in the grander scheme of life, it is 'you should never get drunk with an ex'. Lesson learned. | | | | | Sorry to say, but this is not a great horror movie, or a good one, or even an acceptable movie at all. It's just an excuse to make an attractive woman a literal man-eating demon slut. And you do not even get to see any nudity - now that is scary! If any film was one to pass on this would top the list. | | | | | Listless: Having or showing no interest. That about sums up the feeling a viewer has while watching "Jonah Hex". The film quickly establishes the backstory of Jonah and why he now leads the life of a loner outlaw, showing a hint of promise that it will be an interesting ride; especially stylistically as it appears to begin a noir-western style. Then it all just results in nothing but a meek and mild story of a man bent on vengeance with a soft spot for a prostitute and the ability to talk to the dead. Some of the most entertaining points in the film, and well written also, occur between Jonah and dead men. There is just no edginess to Jonah. Josh Brolin gives all he can and the fact that he manages to speak clearly with the prosthetic make-up on his face for the contorted cheek/mouth of Jonah is commendable in itself. But all is forgettable. Even the action sequences are a complete let down. As for the deaths, all implied. If you expect to see some great killings and fancy violent acts look elsewhere. The film conveniently cuts away every time; characters still die you just do not see it. If this choice was made to get the PG 13 rating then what a complete shame to have to cheapen a film for sake of the teenage market. If it was intentional to adhere from showing violence on screen then, wow, the filmmakers really should have re-thought that one. "Jonah Hex" never hits its stride with the viewer. To say it is terrible is too harsh, but to say it is worth watching is a far cry from the truth. I equate it to background television. It may be on, and you might pay attention every few minutes or so when something grabs your attention, but by the next morning when your co-worker asks, "What did you watch last night", your response will be, "I do not remember". That is "Jonah Hex". | | | | | Combine one part France 1949 with one part Queens, New York 2002 and one gets a not great, but decent meal of a movie. The film does not succeed in achieving its full potential because the two parts never add up to become one uniformed piece. The viewer is pleasantly transported to Paris during the Julia Child segments; but during the transitions back to Julie Powell's contemporary New York, one feels as if he/she is being dragged along unwillingly. This is not to say the movie hasn't accomplished anything. On the contrary, the experience of witnessing two women in their journey for success is a delightful one. In the end the fun of making food wins out. The sincerity of gratification seen in both Julie's and Julia's faces when they've finally reached their goals is just enough desert to make up for the lack of entree. | | | | | Sometimes you just want a playful distraction; and one can be found with "Just Wright". Leslie Wright (Queen Latifah) is the girl all the men love to be around. Just not in the way she would prefer - romantically. She may be cursed by her "homie" status but it does not stop her from believing that love is possible with the right person and this is what makes her an incredibly wonderful character to get behind and root for. She refuses to be anyone but herself and shrugs off every negative comment that may come her way as to her appearance or mannerisms with men. When she finds herself treating the recently injured basketball star, Scott McKnight (Common), who just happens to be engaged to a close family friend, well, she takes it in stride even as her feelings for him grow. She has class, intelligence, talent, and the ability to be a best friend like no one else can. Watching McKnight realize the beauty of Leslie inside and out is all around fun. | | | | | If you combined a slightly crude, coming of age comedy and a gory, action-packed blockbuster, put it in a blender and poured it into a new film, you would get Kick-Ass. This compilation of the two genres makes for a slightly jarring viewing experience because it constantly refutes your expectations. Based on the popular graphic novel by the same name, Kick-Ass is a fun, in your face, action ridden comedy that dares you to get out there and do something. Dave Lizewski (Aaron Johnson), our anti-hero was just a regular teenage boy who liked doing regular teenage boy things which included, but was not limited to, reading comics. His interest in these comics birthed in him a desire to become a real life "super" hero. His cool superhero name? Kick-Ass. His mission? To bring down disturbers of the peace, to stand up for the voiceless and to have more friends on MySpace. Although Dave's initial intention was simply to be a metaphor for society to take action in the name of justice, he unintentionally finds enemies in high places. That's when two other masked characters Big Daddy, a mustached Nicholas Cage, and Hit Girl (Chloe Moretz) pop in to save Kick-Ass's ass. This father-daughter combo could not be more hilarious or bad-ass. In addition, the film finds a way to incorporate new media through its employment of YouTube videos, website hits and social networking and this allows it to stay very current. "Kick-Ass" had a number of original ideas at its start but unfortunately, it reverts back into a more generic revenge epic rather than focusing on the symbolic and metaphorical aspects of being a super hero which gave the film spunk. Also, there were too many pseudo-climactic moments in the film which kept the arc of the story from being very clear and made it tiring to watch. | | | | | A good suburban girl falls in love with the perfect man, who just happens to be an ex assassin for the CIA. Life is sublime in the suburban bubble until it turns deadly when Spencer's (Kutcher) past catches up with him. Too bad for the viewer on all fronts with this one because the movie has no redeeming qualities. Unless you count seeing Kutcher without his shirt on or Heigl walking around the house in a bra - for no apparent reason I may add. "Killers" is a mash up of action, comedy, and romance without ever deciding on what genre it actually belongs to or succeeding at delivering expectations from any of the three. It is rarely funny, the action is choreographed so slowly you feel like the characters have forgotten they are being shot at, chased after, or whatever else. In terms of romance, never once is a real connection formed between Jen (Heigl) and Spencer (Kutcher). They may as well be zombies or robots. Lest me not forget Tom Selleck as Jen's father, Mr. Komfeldt. The quintessential tough guy appears to be suffering from a terrible case of constipation. Perhaps he should join his on screen wife (Catherine O'Hara) in a cocktail to loosen himself up a bit since the only reason she exists in this film is to drink herself silly and portray the stereotypical suburban housewife agony. She may be on to something here because after watching this film all you will want to do is find something to numb the pain and erase the memory of the time spent watching a movie as terrible as "Killers". | | | | | This is just a good old fashioned action movie. The twists and turns are no big shock and the plot seemingly generic. What gives it an edge is the slightly cooky, not exactly all together or traditional, CIA agent Roy Miller (Tom Cruise). He is not the run of the mill serious agent. When he gets June (Cameron Diaz) wrapped up into his mission he treats the entire thing with casual, humorous, and at times flirtatious, sarcasm. Roy (Cruise) and June (Diaz) make an enjoyable pair with enough chemistry from all angles but leaving most of the expected romantic entanglements to a bare minimum. What matters in this movie, and makes it work for the most part, is how well Roy and June work together. Even if she spends a great deal of time getting them into predicaments they could have avoided. They are an unlikely pair at first but as time goes by the two of them together begins to make more and more sense. As a viewer you look forward to what will come next; even when you know exactly what it will be. The movie is a piece of escapism, providing enough of every needed ingredient to make the time fly by while keeping your attention in check. | | | | | As an apocalyptic thriller the film could have been excellent but the added science fiction and horror angles detract from the story and takes it to far into "alien" territory. If you can get through the short and forgettable scenes that take it there you will be entertained by a great mystery. One that delves into science and theology and the eternal conflict of man vs. nature. | | | | | The movie will produce more annoyance in you than thrills or suspense. From the beginning you can see this is going to be all about race and the tensions it produces with certain people. The problems between the two neighbors is never realized beyond the point of race relations and the script does a poor job developing the characters past this angle. There are no thrills here or heavy dramatic moments; simply a crazy Police Officer with a nasty temper and control issues. | | | | | So much for a comedy-adventure movie that is fun and entertaining. This movie is quite boring and lacking in the comedy but heavy on the violence. It relies almost completely on the star persona of Will Ferrell to carry it along but with a script that gives him little, if anything to work with, the viewer is left with barely anything to take from the movie except regret. | | | | | This movie is not only a touching love story of two people who have given up on finding love again but also a heartfelt story about family and the ways in which we can mend that which we thought had been broken. It is full of sentiment and laughter, and will leave you believing that all is possible, no matter what stage of life you find yourself in. | | | | | Games. Games. Games. This film is full of them. The main characters, Clyde (Butler) and Rick (Fox), are embroiled in a cat and mouse game throughout and you cannot help but shift from being on either side. By strongly focusing on the injustices and severe flaws of our justice system it makes the viewer question whether the bad guy is really bad. Perhaps just going a little too far in making his point? Maybe. With his brilliant and imaginative mind you will find yourself in awe of his capabilities. The film may not be full of suspense, or any real grand revelations or twists and turns but it does keep you in the moment. Mostly from the intense likability of Clyde (Gerard Butler). He may be killing people left and right but with his charm and intensity you grasp on and want more. If there is one great thing this movie offers it is how your brain is constantly thinking and pondering what will happen next and how he is managing to do everything from prison. The film is ultimately intriguing and the final reveal that answers all of your questions further secures the belief that Clyde is brilliant, and a decent film villain after all. | | | | | There is only one reason to see this film: Matthew Goode as Declan. Not since Cary Grant graced the screen many moons ago has a male actor been so incredibly charming, funny, and quite frankly irresistible. He may be in a film that simply regurgitates one romantic comedy stunt and cliche after another but it is all the less painful having him to fawn over. Amy Adams (Anna) has a few moments where the ice cold princess melts but she is bland and forgettable. As for the other man in the film, her fiance Jeremy (Adam Scott); it is absurd to even think for a moment she would have anything to do with him after meeting Declan. If you want drab, ordinary, and unworthy of a second thought choose Jeremy. Nothing compares to Declan's quick wit, adorable facial expressions and spot on comedic abilities. If the film was trying to paint a realistic love triangle and make us actually consider she may choose Jeremy over Declan then they think the moviegoing audience are a bunch of idiots. One look in those beautiful eyes of Matthew Goode and no other man exists. Then you hear him speak with the accent and the World just stops rotating. Go for the romance if you must but be prepared to not care whether Declan and Anna or Jeremy and Anna end up together. Your mind will only find itself concerned with one thing...trying to find out how you can get in touch with Matthew Goode, or hitching the next plane to Ireland in search of your very own Declan. I have a feeling Tourism in Ireland is about to sky rocket. | | | | Common literature has always taught us to root for the light and against the darkness. What happens then, when what is supposed to bring light to the world begins to wreak havoc on mankind? Can we really put our faith in the will of a higher being whose intent is to exterminate the human species? This is the premise Scott Stewart's Legion attempts to grapple with. Apocalypse is nigh, and the angels have arrived, not to protect but to destroy the human population because God himself has lost faith in his people. This idea of angels, what we have come to understand in our cultural subconscious to be good and fair protectors, turning against man is particularly dark and disturbing. The only hope for mankind lies in the birth of a child who has been prophesied to lead the people out of darkness. This is a loose parallel to the birth of the Christ and coincidentally occurs on Christmas day. Paul Bettany gives a well-balanced performance as the archangel Michael, who has decided to rebel against the orders from God to exterminate mankind and instead, comes to earth to ensure the baby survives.
This is all good and well and could have panned out to be a relatively interesting film. Unfortunately this vaguely intriguing apocalyptic story was basically tacked onto the back of a very generic horror film. In fact, Legion uses every horror convention in the book and becomes a nonsensical mish mash of horror set pieces; featuring scary children, possessed beings, pustular rashes, old women, bugs, raw meat etc. Nine strangers are trapped at a dinner in the desert and have to fend off blood-thirsty, zombie-like people who are possessed by angels. I would say more, but you should know how it goes from there. Ultimately, Legion is not an apocalyptic film, rather it is a conventional horror film with apocalyptic themes loosely tying everything together. | | | | | Romance is alive and well once again thanks to this film. In the city of Verona, Italy, where Romeo met his Juliet, Sophie (Seyfried) and her fiance Victor (Bernal) are on vacation. A vacation they inadvertently are not spending together. Sophie is set to discover the city on her own and it leads her to Juliet's balcony; and a letter left by a young girl, Claire, 50 years before asking for guidance in love. With the assistance of Juliet's secretaries she answers the letter and to everyone's shock and pleasant surprise Claire (Vanessa Redgrave) arrives in Verona to find her long lost first love. Thus begins the adventurous journey of Sophie, Claire, and Claire's grandson Charlie, as they travel through Tuscany on a romantic endeavor so cleverly crafted it leaves you with a stupid grin on your face for hours after watching the film. The search for love lost but never forgotten and the subtle charm of new love found are weaved together in a story made for a viewer who wants to feel the butterflies in their stomach or the promise of a future filled with unexpected delight. This is a movie built upon love and anyone willing to let go and indulge themselves with easily fall in love with every single part of it. | | | | | If love is happening, it's happening somewhere else. To categorize this film as a romance or give the impression to an audience member that that is what you will get is a gross exaggeration. The main plot of the movie actually deals with Burke Ryan (Eckart) overcoming his demons stemming from the death of his wife. As a self-help guru, capitalizing on his wife's death and his supposed method to overcoming grief, he spends the majority of the movie with a room full of strangers working out their problems. The romantic angle of the movie, and Jennifer Aniston's character Eloise, are merely a 'C' storyline at best. She appears now and again but a romance never fully develops between the two of them. And trying to throw a quick montage into the screenplay does not and cannot substitute for love blossoming. The real 'B' story, as it may be called, is between Burke and Walter, one of his seminar attendees. This storyline takes up a very large part of the film and it is also the most endearing part of the whole movie. Watching Walter deal with his young son's death is incredibly moving. The entire romantic angle is mere filler, and could have been done without completely resulting in a much more entertaining and fulfilling film. As each minute ticks by you only wish more and more that you had bought a ticket for something, anything else. | | | | | Aside from the dance sequences this movie is solely reliant on the chemistry between the two main characters, Jessica and Jake. The problem is the performance by Tom Malloy, as Jake, is without emotion or range. Amy Smart (Jessica) has much promise as she twists her way through romantic entanglements and learning to dance professionally but she can only do so much to save this romance from feeling forced and stale. There is just not enough of anything to keep you in the moment and to feel something is happening you want to experience. | | | | | As far as stupid, low brow, and completely void of any redeeming quality comedies go, "MacGruber" falls right in line. What makes it surprising and unique is that it is entertaining the entire time. Based off of a Saturday Night Live character, featuring the lead Will Forte as MacGruber, what could have been a sad attempt at bringing to the big screen a character better suited for five minutes on the small screen has instead turned into something anyone willing to forego any level of intelligent cinema will enjoy. This credit for such must be given to the main characters of the film and their performances. MacGruber (Will Forte) is a man child given the fate of the world in his hands and Forte makes this ridiculous incarnation of a sad MacGyver-type with a piece of Rambo thrown in thoroughly captivating. Mostly because of his inept ability to actually stop a threat. Then there is Kristen Wiig as Vicki St. Elmo. Each line she delivers in her deadpan comedic style gives the audience something to grin about. The two work incredibly well together with their seemingly different styles of performance and comedy making the movie more accessible to different tastes. By pairing them together, along with a more statuesque, rule abiding Lt. Dixon Piper (Ryan Phillippe) to balance out the two, the movie becomes more than thought possible. Watching MacGruber attempt to save the World from the evil Dieter Von Cunth (Val Kilmer) is not going to win any awards or have you telling your friends to run out and watch it...BUT...it will not make you completely wish you had gone bowling instead. | | | | | With two separate story lines that do not intersect until close to the end of the film you are left wondering for most of it what role the Madea character has in the story, if any at all, except to moan and pick fights with her family and strangers. The real story belongs to the characters Joshua and Candice and it is far from comedy; but even with it's dark and dramatic subject matter it makes for a story that gives you faith in the power of friendship and redemption. | | | | | When it comes to love people move at different paces, as this movie keenly demonstrates. The unabashed all in love Mike (Zahn) is the dire opposite of Sue (Aniston) and this mismatched love match makes for a very fun ride throughout the film. For what may seem romantic to one person is borderline stalker to another. Sue takes it all in good grace and warms to the hapless Mike but a future between the two never seems possible. With his over the top antics to try and woo her you cannot help but smile at the prospect of someone feeling something so deeply he would go to any lengths to prove his love. It may be the tenderness and charm of Steve Zahn as Mike that wins your heart in this movie but it is the undeniable greatness of love that makes you feel warm and fuzzy inside as the movie draws to a close. | | | | | How long can you watch a dog eat a couch, bark at the lightning, run off its leash, and just simply cause havoc in people's lives? Not this long. The film is so concerned with the antics of the dog that it forgets to really focus on the other characters, who just happen to be the ones who can talk and engage with the audience. As the disillusionment of life sets in for the characters you do not feel emphatic or any form of relating. Whenever the moment comes where you may get to glimpse something of a relationship between them, something real and tangible you can relate with, Marley does something to distract from the moment. In the end all you really get is a small look at the lives of two people, the choices and sacrifices they make, a brief look at their dissatisfaction, and way to much of the dog. | | | | Micmacs, or Micmacs a tire-larigot in the original French, is a nearly untranslatable slang idiom meaning roughly something like "troublemakers" or "shenangians". Like its title, the plot of this film is equally bizarre. The film opens in North Africa where a soldier is blown to bits by a land mine. Cut to France where a young boy mourns the loss of his father. Fast forward thirty years and that same boy, now a man named Brazil (Dany Boon) working at a video store in Paris, is improbably struck in the skull by an assassin's errant bullet. On the flip of a coin, the doctor decides to leave the bullet in his head. You see, Brazil's survival chances were fifty-fifty: he could have easily died during the operation. Of course, the bullet could migrate into his brain at any moment, causing instant death. To add insult to injury, upon his release from the hospital, Brazil discovers he has lost his job and his apartment. He becomes a street performer and is taken in by a band of scavengers and inventors who live in a trash heap. The group includes an ex-con named Slammer (Jean-Pierre Marielle) and a prickly contortionist (Julie Ferrier). Together, they plot revenge against the two arms manufacturing companies that made the land mine that killed Brazil's father and the bullet that nearly killed Brazil.
If you thought it was exhausting just reading that synopsis, imagine watching the movie. Jeunet (Amelie, A Very Long Engagement) is known for his over-stuffed plots and dizzying visual inventiveness. Unfortunately, Micmacs has neither the wit and charm of Amelie, nor the lush romanticism of A Very Long Enagement. As Brazil, Dany Boon is an inert and un-engaging protagonist, perhaps necessarily because of his head injury, but the film never fully recovers from the lack of charm and depth at the center of the story.The supporting cast tries to compensate and they are all admirable weirdos, including a man who speaks only in cliches and another trying to make the Guinness Book of World Records for human cannonballing.
But all of this eccentricity adds up to nothing. The arms dealers are just as odd as our heroes (one collects celebrity body parts), but the film stalls when it tries to confront the dealers with the atrocities they've committed in North Africa and around the world. Such serious business has no place in such a silly film as this. And that's the main issue with Micmacs: there is no sense of reality. It clearly wants to take place in the real world, where the war in Afghanistan is ongoing and office workers spend hours a day on YouTube, and yet, the characters inhabit a green and gold-tinted Paris where there is never any traffic (except when the script calls for it) and Brazil can plan and execute elaborate surveillance schemes with scavenged equipment. Ultimately, Micmacs is a disappointment for Jeunet fans and probably just too weird for mainstream audiences. | | | | | For a film that is primarily aimed at children it is shockingly violent, full of sexual innuendo and lots of "potty mouth" comments. That aside, it is seemingly enjoyable but nothing near fabulous. All of the characters are taken from a page out of B movie history, and homage of sorts, that is sure to delight audiences with an affinity for science fiction/horror films of days gone by. To see them all on screen, in a positive role, and banded together to save the world is fun; and may even be seen as an inside joke for parent's bringing their children. Something they can dive deeper into while their children experience the character's for the first time in a new light. Overall, it is a decent story that has a good message behind it. If only it was being told without so much severity and a bit more childish humor. | | | | | This film is a rarity. It takes you on a journey that is thought provoking, mysterious, and whole heartedly science fiction. You will have many questions, and many will be unanswered, but that is part of the enjoyment you get from watching the movie. It makes you think, and feel, and ponder the human existence. What makes us human and what do we need to sustain ourselves when we agree to live in solitude? How can we rectify the choices made by others for us when we have no knowledge of those decisions? Is progress at the expense of human life and the manipulation of human consciousness? The questions this film raises are endless and completely dependent on how you view the reality created on screen. It is a fascinating story that portrays a future very different from those seen before and one full of corporate antics and deceit. | | | | | To say the least, this film is not entertaining. It lacks the elements of a romantic comedy, and a comedy in general. The story line has been done before, and with better results. | | | | | With a great ensemble of characters and laughs aplenty the film is a pleasure to view. The romance aspect may be a bit on the light side but it does not lessen the experience because you are constantly engaged with all of the different characters and their antics while traveling through Greece. What you essentially get is a lighthearted comedy which aims to show that changing your mindset is completely possible when you open your eyes and your heart to those around you. | | | | | In one moment Anne Deveraux decides to leave her cheating husband, grab her two teenage boys, and set out for somewhere, anywhere else. Did I mention it is the 1950s? Not your typical act for a 50s housewife; which makes it wholly enjoyable and refreshing. The film is full of twists and turns and laughter throughout. This is one road movie where you want to take the ride. | | | | | When it comes to melodrama, this movie just may be the definition. The story starts off a bit slow, and uses to much voice over to explain a varying amount of details, but about mid way through it lays on the melodramatic tone so heavy your heart feels like it has been crushed, beaten, and broken all at the same time. The story is very deep, and troubling, but it has its moments of pure joy and is full of love. There is no doubt throughout that the family cares for each other and there is a bond between the sisters that is not easily, if ever possibly, broken. The movie is just so incredibly draining emotionally and mentally that it is hard to say whether one could actually enjoy watching it, even if it gives just as it should. | | | | | If you are looking for a light-hearted romantic comedy that will make you smile and feel good walking out of the theatre this film delivers. The film has a great deal of personality and offers the viewer laughs, a possible cry, and may even make you cheer. | | | | | The film is more an excuse to animate and bring to life historical figures, famous paintings, and treasured art than to offer a well rounded story. It purely moves along at a stagnant pace and never truly offers up stakes that make you invest more than a fleeting amount of your attention. The only redemptive quality is the playful imagination it possesses in bringing history to life. | | | | | The movie is not the best romance you could watch, or melodrama, but it does have it moments. You will laugh at times, and cry at others, but you will also find yourself bored and twiddling your thumbs. It just does not have enough drama, or romance, to sustain a viewer for the entire length of the film. | | | | | This film has no place in modern American cinema. It belongs to the long forgotten and cast aside brilliance of the International cinema of the Italians and the French. It is at once a linear progression and then disjointed. It begs you to question a man's morality and the love of a woman, or many. To embrace the muse and realize the limitations of one. This is not an American film and it will not please an uneducated filmgoer, as harsh as that may sound. It is to be appreciated as a piece of art and the performance by Daniel Day Lewis as the Director Guido a showcase in how to be a tortured man whom you (we) love for all the ways he is flawed, unacceptable, and seemingly without hope. Or perhaps it is to be seen as a piece of cinema where the fetishization of women is prevalent and accepted. They are merely on display for Guido when his mind takes him out of reality and into a deep imaginative state. It has at its core a deep love story between a man, his work, and the women in his life: past, present, and near future. Yet it is also strongly focused on his egotism. His self doubt is a facade, a mere picture of what he does prior to creating greatness. Guido has lost his way though, and finding it through the myriad of obstacles he himself has put in front of him is no more easier than juggling seven women at once. Taking the journey with Guido may not be for everyone. For those willing to embrace something far from the norm it just may be a welcome treat. | | | | | For a comedy, this movie is seriously lacking in anything humorous. Rogen (Ronnie) is just short of terrible with no personality. He merely remains the same character the entire time and slowly becomes annoying to watch as the film moves along. Finding the actual plot of the movie is merely impossible and it itself forgets what the point is about half way through. By this time, you are wishing you had done something else with your time. | | | | | What we have here is just something more of what you have seen before. A woman finds a man attractive, becomes overly attached, and decides she should go crazy and try to ruin his marriage and life when he does not reciprocate the feelings. Nothing more, nothing less. Ali Larter (Lisa) is quite excellent as the crazed, psychotic woman; and more than likely the only reason you may actually sit through the whole film. The plot just gives you nothing and it is incredibly slow. The twists and turns that should surprise you, thrill you, and excite you, just come and go without a thought. The only time you may sit up and get excited is in the last ten minutes; and who wants to wait that long for a small payoff? | | | | | Two men over the age of oh lets say 50 to be kind have their lives sent into a spiral when !surprise! one of them has a pair of 7-year old twins whom he must watch for two weeks. Not really what you may want when your company is about to close a deal worth over 45 million dollars. This scenario does make room for a high dose of comedy and some sentimental charm. Charlie (Travolta) and Dan (Williams) make an unlikely but pleasantly surprising pair of best friends who have seen each other through the worst of times. They play off each other well, even if Travolta takes Charlie as being a little more eccentric than his character need be. Dan carries most of the story as he slowly adapts to having children but do not expect to see a whole lot from the children themselves. They are grossly underused in the film and act more as a hub for Dan and Charlie to grow and change into family men. This does not hurt the comedic nature of the movie but it does deter from what you may have expected walking in. Overall it is a decent piece of entertainment with two actors doing their best to make us laugh and succeeding; with a little help from two children, a sidekick (Seth Green as Ralph) and lots of cameos from some random actors in roles as unpredictable as the tattoo on Dan's chest (sorry, no spoiler, you will just have to see for yourself). | | | | | The film progresses at a very slow pace but once you get to the third act it is a whirlwind ride of revelations that will have you muttering to your companion something along the lines of "what the ?!?!". For all it lacks in the beginning it surely makes up for in the end, you just have to be patient. For the secret Esther, the adopted daughter, holds is one that is highly unlikely you will guess until the moment it is carefully revealed. | | | | | A Black Man and a Mexican Woman are going to get married. Let the racial tensions begin, and never end. The film sets up the tension between the family's because of race/ethnicity but it forgets that there needs to be more to a story. The term "grow up" comes to mind when listening to the absurd comments and witnessing the poor ways the two father's treat each other because they are not thrilled about their children becoming part of a mixed-race couple. Carlos Mencia, as Lucia's father Miguel, is incredibly whiny; Marcus' father Bradford (Forest Whitaker) is a womanizer who prefers women half his age. Neither man is someone you want to like, or invest in, as a family patriarch, nor show any respect for with their disgusting displays of machismo. As for the couple themselves, Lucia and Marcus, they are insignificant as neither one seems to have a personality of their own. Overall, attending this wedding is like attending the wedding from hell, where you hope there is an open bar so just maybe you will forget it ever happened the next morning. | | | | | The problem with this movie is not that it obviously feeds off the creativity of some past sci-fi horror films such as Alien and Event Horizon, but that it eats away at the audience's patience far too long before it decides to be any good. For the first hour or so all one knows is that in the year 2174 most of the earth's resources have been depleted, a massive spacecraft has thus been sent to settle the Planet Tanus, but the only people who seem to be aboard the ship are Captain Payton (Dennis Quaid) and Colonel Bower (Ben Foster), who incidentally do not remember diddly squat. The pitch sounds promising enough for an engaging mystery, only the mystery is never really felt due to frustrating holes in the plot. If it were not for Payton commanding, "We need to get to the bridge", over the radio like bad voice acting in a video game, then one would have no idea of why Bower is currently crawling through an enclosed tunnel of wire. I can understand that director Christian Alvert wishes to keep the audience in the dark as long as the story's characters are, but the end result is a muddled mess. Pandorum refers to a psychological disease occurring in hyper-sleep resulting in trembling, nosebleeds, and crew-threatening insanity; the title is misleading though in that the movie is more about monsters than it is mental illness. The film attempts to sell its' self as science fiction, horror, mystery, and psychological drama, but most of time is the monsters' makeup that succeeds. The good news is that after a few flashbacks, some new characters, and a little action, Pandorum actually gets better as the movie progresses. The bad news is that before this happens one must endure annoying whisper dialogue, poorly lit sets, and enough holes to make space envious for at least an hour. By that time, the sanity of the audience may be in just as much jeopardy as those stranded in space. | | | | | "Paper Man" begins with a very promising, visually interesting title sequence that involves an extended stop motion paper collage that prepares its viewers for the meshing of the real and imaginary worlds. Unfortunately, the film does not live up to its artistic opening and it becomes visually bland and repetitive after the first forty minutes. "Paper Man" attempts to sew together three relationships into one cohesive storyline while never offering an explanation for any of them. The first is an unlikely friendship between a writer, Richard (Jeff Daniels), and a young girl, Abby (Emma Stone), that is sweet despite its inappropriate context. The second is a relationship between Richard and his imaginary friend, Captain Excellent (Ryan Reynolds). According to the film, Captain Excellent has played a major part in Richard's subconscious since he was in second grade however their relationship onscreen does not prove symbiotic in any way. Instead, Captain Excellence comes off as more of a burden to Richard rather than an assistant. The idea of making an imaginary friend a prominent secondary character was novel but the realization of it on screen was ultimately uncreative. Reynolds's character is almost completely unnecessary and actually drags down the pacing of the film. The third relationship is a marriage between a realist, Claire (Lisa Kudrow) and the dreamer, Richard. Their relationship is very unique in that they are living separately but are not separated. Kudrow and Daniels really were able to play off each other well and some of the best scenes in the film occurred between the two of them. What results from this cinematic sewing together is a film that feels as haphazardly stuck together as paper mache and as folded up as the origami Richard attempts to make. It definitely feels like three separate movies because the three relationships are neither well integrated nor meaningfully put together. There are intriguing elements of dark comedy and a great potential for depth, however the film seems to teeter on the edge of being beautiful and philosophical but it never plunges down into it and therefore achieves nothing noteworthy. | | | | | "Paranormal Activity" is a ridiculously low-budgeted movie ($15,000) shot in 7 days. After a brilliant marketing campaign asking horror movie fans to bring the number of request to have the movie released in their city to a million, the film has finally been blessed with a wider release. The ridiculousness stops with the budget though in that "Paranormal Activity" ends up being one of the scariest movies of the year or of any year. Taking place in San Diego, California in 2006, couple Micah and Katie have been experiencing some strange occurrences on a daily basis. Micah decides to invest in a hefty digital camcorder and by following everything his girlfriend does through a series of documentary-like interviews we find out that faucets have been turning on and off, that weird noises are often heard throughout the house. Katie is cautious because these "hauntings" have frequented her since she was eight years old, but Micah is an excited detective obsessed with solving the case and protecting the girl. The real suspense occurs every night, for 21 nights, as Micah leaves the camera on as they sleep and the audience witnesses some downright terrifyingly creepy events. Ten years ago‚ "The Blair Witch Project", was a bad movie that simply became a low-budget pop-culture phenomenon; "Paranormal Activity" may have low production quality, but it's an expertly crafted horror-mystery. The movie's frightfully fun to watch with a big audience, but the ride home at night may not be so pleasant. | | | | | The movie is not terrible, but not great either. You will laugh at times, some brought on by the actual comedy and others for its failure. It does try to up the "cool" factor by having the bad guys lovers of extreme sports; everyone grab your BMX bike and skateboard and lets take over the mall. It just does not achieve the laugh out loud comedy you may desire, leaving it merely a movie you will not hate, but one you will more than likely never want to watch again. | | | | | The Gods are angry. As they should be considering their names are attached to this lackluster, pathetic example of an adventure story. Zeus has every right to strike down upon the Studios behind the production of this film with his lightning bolt, turning them into a pile of rubble and ash. Yes, that may sound far more harsh than need be but if you plan on spending two hours watching this movie you will feel the exact same way afterwards. If you have read the novel you just may walk out midway through it to save yourself the agony of seeing how it has been raped of any semblance of the narrative, or any of the wonder that came with it. Percy Jackson (Logan Lerman) comes across as a punk kid who is full of sarcasm and a lack of respect for authority, not to mention a decent size ego when he discovers he is the son of Poseidon; all the more making him a hero the viewer wants absolutely nothing to do with. His friends along the way, Grover and Annabeth, are no better. Grover is overtly made into the most stereotypical Black character you can put in a film. Everything he says, his word choices, overdeveloped sex drive, the way he walks, even what he dreams about during a somewhat dreamy sequence in the script, is disgustingly typecasting him. If this were a horror film he would have been the first to die. What they do to Grover to try and make him seem cool and hip is an abomination to the representation of race, any race, on film. As for Annabeth, she is a fleeting presence. As the daughter of Athena her wisdom and skill is never showcased to portray a strong young woman. She can fight but the film is more concerned with showing how she looks at Percy, and he at her, than making Annabeth into a role model for young girls. Where the actual story is concerned you find even less to go with. They are searching for Zeus' lightning bolt, as it has been stolen. The quest they set out on should be filled with peril, moral decisions, and a coming of age foundation. There may be a few scenes of peril but otherwise they may as well have just walked through Central Park after midnight. The film gives us nothing to go with as the mystery/adventure angle is completely ignored and any sort of danger we perceive that Percy and his friends should encounter is watered down. There is nothing mythical about this film and it shall remain a forgettable portrayal of the Greek myths in modern times. | | | | | The year is 1966 and the '60s, as the movie boldly declares, is the greatest era for British Rock and Roll with bands like The Who making your daddy upset. In this film, "daddy", is the BBC and the only way to get popular rock on the radio is to broadcast from the sea aboard a vessel inhabited by DJ veterans, several swingers, one virgin, and one woman, who happens to be gay. "Pirate Radio" has everything going for it: great actors, a great soundtrack, but the movie itself is disappointingly bland. For a movie about musical freedom and standing up to the man, one would expect more stylistic ingenuity throughout rather than merely at the beginning and end credits. In fact, the film almost unintentionally supports the man by reducing its only Black character to a mime and presenting women solely as cooks and objects to be shagged. Sure, maybe the '60s were all about sex, drugs, and rock and roll, but why then is the party so devoid of fun? That's ultimately what's wrong with this film, unintentional racism and sexism aside, the audience cannot enjoy themselves because with very little character development aimed for empathy we never really feel like we're actually invited. Director Richard Curtis (Love Actually) goes with an episodic aesthetic that captures the scene and some of the mood of '60s Brit Rock, but none of its spirit. At the end of the film album covers from everyone from Nirvana to Taylor Swift to Eminem are flashed upon the silver screen. Bands who rocked out in the '60s most definitely paved the way for the artists of today, but unfortunately, this particular film isn't nearly as inspiring. | | | | | Why do I have the feeling I have seen this movie before? Oh right, because it uses so much from so many other movies to tell its story that it is like watching old favorites again, all in one. With a new twist that is, since the humans are the invaders on a planet inhabited by what humans call aliens. Where else can you find the alien, from Alien, as a pet? Or revisit the flying by the moon scene from E.T. done with a comic twist? Yeah, it is kind of silly, but silly fun. | | | | Review Coming Soon | | | | | Remember the books you loved as a kid? Do you remember how even if you could not understand every word, you just kept marveling at the illustrations, and somehow you knew the story exactly? Just about in every frame of Ponyo are those beloved childhood stories brought to life. The world of Ponyo is a magical one where the lives of all earth's creatures are celebrated on every available inch of the screen. If ever one were still unsure of what true imagination looks like, one would have to look no further. After the film is over you'll feel good because somehow you're a kid again. Your mind is lost in another world, not knowing that you've witnessed a piece of art. | | | | | Entertaining? Yes. New and exciting? No. That pretty much sums up this entire movie. It is one of those common coming of age films where you watch the main character stumble through life after graduation before she finds what really makes her happy, or what she really wants. This one does throw in a quirky family and that helps immensely in making it enjoyable. Led by the hilarious Jane Lynch (the mother Carmella), a slightly off Dad (Michael Keaton as Walter), a parental described "weird" little brother, and the grandmother with the biting tongue (Carol Burnett as Maureen) they give the film that extra something to get you through its formulaic predisposition. All in all, it keeps you going, and it is the perfect length. There are no regrets but no accolades either as you grab what's left of your soda and walk out the door. | | | | | Feeling down about your life? Do you wonder why everything seems to happen to you? Well it doesn't and your life is not that bad. Don't believe me - see this movie. Chronicling about two years in the life of a Black teenager in the New York City ghetto this film delivers a story that is all too cliche but heartbreakingly true. Precious, as she is aptly nicknamed, tells her story in the movie and it is all but unbelievable. Sexually abused her entire life by her father, mother and sister to her children, illiterate, mentally and physically abused by her mother, poverty-stricken, and with absolutely zero self esteem (and one more thing that you will just have to witness to believe - it is that bad). This is Precious. As you watch her journey from victim to survivor it is uplifting but never seems to get passed the showcasing of every horrible act or roadblock she encountered in these brief two years. The film is so determined to make you empathetic. To make you feel bad so you can inevitably feel a ray of hope at the end that it forgets to find a decent balance.
Every time you think it may improve it drags you back into the deep dark depressing void. | | | | | The hunters become the hunted but not with such great effect. In a definite pull from the short story, The Most Dangerous Game by Richard Connell, Predators merely goes through the motions but never gains great momentum. The film begins by plunging the characters straight into an unknown jungle. No one knows each other but they all have similar backgrounds, they are trained killers. They soon discover this is not an exercise in their own skill but a planet in another world where an unknown species hunt game. The game is of course the humans. What follows is a series of run, hide, and stay alive for all involved. The predators are as always deadly and highly intelligent but we see very little of their skills in the film. Most of the time is spent in conversation with the humans as they discuss how to stay alive from an unknown enemy. When the predators do make an appearance it is hardly with any great surprise or terror. The film as a whole ends up being more of a piece about human vs. animal nature. Given such a circumstance, what do you value more, your own life or the life of others? What is more important, to stay alive or die with honor protecting another? As much as it tries to be more of an introspective piece of filmmaking it cannot overcome its own obstacle: the expectation of violence and gore. Neither of which are provided to a great level. Nor can it escape the fact that none of the characters are someone you want to see survive, or find redemption in, to care enough about what they have to say or what choices they will make in the end. Had there been more action, plot twists, and mystery's developed you could do without easily the failure to connect with the character's. Since none of these things are present after the first act of the film you desperately need something more to grasp onto and hold your attention. That something never develops. If you do not mind sitting through a film that continually suspends you into waiting and watching for something to happen then this will not disappoint. If you care more for non-stop action and some serious blood spilling then better to take a pass. | | | | | Following the standard hero's journey, "Prince of Persia: The Sands of Time" provides the viewer a great adventure story. Destan (Gyllenhaal) is the adopted son of the King of Persia and is anything but a calm and obedient Prince. It is his penchant for doing what he wants, and not necessarily what he is told to do, that sets him on his journey to protect the mysterious and magical sands of time while also clearing his name for the murder of his father, the King. Destan's journey is full of action, humor, and death defying tasks that build his character as well as open his heart to the love of a spitfire woman, Tamina (Gemma Arterton). The movie gives just enough history and myth, plenty of action, and the right dose of playful sarcasm between characters to keep you fully engaged. Add in very good performances by all involved, with the bonus of a hilarious anti-taxation character Sheik Amar (Alfred Molina), and you cannot help but be satisfied. The most gratifying element just may be that this is a film adapted from a video game yet you would never know it as it is written with a level of maturity and directed with the intention of providing original thought on the material. | | | | | Walking in you may be expecting a fast-paced, thrill filled, gangster movie. This is not how it is presented. It is actually a very slowly paced film that is more about character development and romance than action or more specifically, robbing banks. It is refreshing to see more of a human side to a story such as this and not just a glorification of a lifestyle full of crime and dangerous circumstances. Essentially the film is a biographical and contemplative look at the workings of a man who was the most wanted in America while being caring, compassionate, and remorseful. The movie brings a level of depth to John Dillinger that is unexpected, and well received. | | | | | To say this film is not very good is harsh. Its fault lies in following the plot and the backstory. It never fully explains quite a lot of things and that leaves you wondering about how something is possible or why certain people are referred to as a distinct type of person with abilities. Even with this it is still entertaining and has the potential to hook you in its twisted world. | | | | | The film is slow to get started and loses even more steam as it moves along. The stakes are just never raised enough to where you are invested in the character's and what they are trying to accomplish. It also spends to much time on a B storyline involving the Jack Bruno character that is ultimately time that should have been spent developing the larger plot of the film. The movie does have some fun action sequences and great special effects but as far as holding the attention of the audience, and one of a child especially, it fails. | | | | | Young romance is sweet, at times simple, and altogether tragic. Tyler (Robert Pattinson) is dealing with the untimely passing of his brother, Michael. Ally (Emilie de Ravin) is haunted by the murder of her mother, when she was only a child. When these two meet it may be under unusual circumstances but what transpires is desperately common and only makes the film all the more enjoyable. This is not a film where the story, the romance and familial drama, are unlikely or hard to believe. There is no forcing their emotions or overdramatizing the conflicts. It is honest and real with characters who are far from perfect but battling emotions as those in the "real" world may. The film grabs you from the beginning and builds until the final moments. In the end it feels like it may be cheating to gain your sympathetic empathy but the emotion passes and suddenly you realize this is not a love story about two people. It is much larger than that and full of much more depth than the surface layer may suggest. | | | | | Debt is deadly. Especially when it is your vital internal organs you are financing. A visit from the repo men is what is in store for those who fail to make their monthly payments and well, get ready for a gory mess of fun when they come to collect. They are kind enough to offer to call an ambulance for you, after they remove your organ, but a lot of good that will do you when you have no heart. "Repo Men" may border on the absolute ridiculous but it has camp cult status written all over it; making it one of those films you may not want to watch but cannot seem to stop yourself from enjoying. Set in a futuristic world where you can purchase an organ instead of waiting on that pesky donor list this movie does not deal lightly with the subject matter. The repo men will cut your heart out without flinching, remove a kidney in less than five minutes, and never bat an eye at slicing off your ears. When one of these men has a crisis of conscience the simplicity of repossession becomes anything but, turning the film into a wild ride of man vs. The Man. The story may be plagued with numerous plot holes, poor pacing where you never know exactly when something has ended and when something new has begun and subpar development of certain important relationships, but it is still at times hilariously funny, hugely entertaining, and shockingly in your face with its lack of conformity to the idea that blood and guts may suit an audience member better if left on the cutting room floor and not in the final cut. | | | | Forget everything you know, remember, or think you know about the story of Robin Hood. Now go and watch this film.
Ridley Scott's "Robin Hood" tells the story of the origins of the legend of Robin Hood. It begins during the Crusades and moves forward from the death of King Richard. The years that follow are turbulent and full of drama, deceit, and full fledged fighting. As the film packs full its entire two plus hours with many characters and subplots it can be disorienting at times. There is much to learn and grasp and although it is tightly edited there are many instances where you are trying to remember exactly who someone is or how a new subplot fits into the story. Once you wrap your mind around all that is going on you find it is an incredibly enjoyable movie with solid performances by all involved and just enough action and romance to please any filmgoer. The best part is how it breaks away from the convention of the Robin Hood films and weaves a tale that is fresh and engaging. Marion (Blanchett) is a strong, take charge woman who can wear a pretty dress just as well as she can plow a field. Robin (Crowe) is full of mystery and his background and future a puzzle to unravel for both the audience member and Robin himself. The resident bad guy, Godfrey (Mark Strong), is deliberately evil with his traitorous ways. Every way you look at it each character is developed just enough so we care, or care to despise, them; which in turn makes the movie more than just another period piece about men running amuck in a forest. It makes it a good film worth watching. | | | | | Evelyn Salt is a spy. Is she bad or good? That question is what makes Salt such an enjoyable, fast-paced, action thrill ride. Throwing away the need for strong dialogue, but heavy on back story, the film produces one simple thing: action.
At first, when Evelyn Salt is accused of being a Russian Spy working within the U.S. government, her only goal appears to be to contact her husband. Her concern for his life occupies a great deal of her motivation and it does not always come across as genuine. The occasional flashbacks with the two of them fall too heavily on the melodramatic side of things and I must say, your eyes roll. Thankfully the film makes up for this by delivering a second and third act full of intensity that gives little time for anything but shocking stunts. When Angelina Jolie forgoes the sensitive side for the all out action heroine the viewer finally accepts Salt for what she is: one hell of a spy with incredible abilities and MacGuyver-esque skills. Getting to try and guess whether Salt is indeed working for the Russians is answered somewhat early on but it only opens up a wealth of new twists and turns to keep the momentum of the film going until the very climactic finish. Which just happens to include one of the most creative ways to strangle someone I have ever seen on film. You will never know exactly what motivates Salt and where she is going to lead you next. Making this a film that has succeeded in fulfilling expectations. | | | | With careful consideration and debate, FilmFracture has made the decision to not review this film. In no way does this imply that we feel the movie is not of specific standards or merits to be screened. We just feel that given it is the sixth sequel of a franchise, and one that has repeatedly shown great similarities in plot and theme throughout its films, it is best to take a pass. Should you see it and feel that it does deserve to be reviewed because it shows signs of a revival of the franchise please feel free to contact us and we will reevaluate our decision. Thank you for your understanding and continued support. | | | | Review Coming Soon | | | | | A sane, intelligent, successful, beautiful woman can snap in an instant, given the right circumstance. The circumstance in this case just happens to be her husband announcing he is leaving her for another woman. Call her a woman on the verge of a breakdown but do not call her crazy. That just makes her more nuts, but in a good way. The cheap thrill of watching her duct tape him to the toilet may come across as extreme but it works for the duration of the movie as a wild solution. Largely in part from the performances by both Meg Ryan (Louise) and Timothy Hutton (Ian). It is this out of the ordinary reaction that gives rise to unexpected sentiment and the chance to watch two people who have fallen out of love deal with their feelings and face exactly what went wrong. When a twist of fate occurs it puts them both in a larger predicament but not everything is always as it seems and although the twist is almost predictable it makes for a great final scene. | | | | | The girls from one of the most favorite cable television shows have returned and with great results. Following briefly where the series left off the movie version makes good on catching up the viewer with snippets during the opening credits of what came before and where everyone is at this time. Carrie, Charlotte, Miranda, and Samantha remain the closest of friends even as their lives have taken a variety of paths. The main focus of the film lies with Carrie and Big getting married and the ultimate break up of their relationship. Anyone familiar with the series knows this is a common occurrence between the two. This time around things are more complicated, not just for Carrie, but all the women as they are each faced with hard life choices. The film plays like a love story to friendship. It has the ups and downs, the tears, and most importantly plenty of laughter. There is a bit too much squealing whenever Samantha enters the room and the character of Louise, with her very large love for love, borders on eye rolling at times but these are small things we can let slide. Whether or not the women find their happy endings with the men in their lives the foundation of what these women stand for is solid: friendship above all else. Having the pleasure to watch them on screen together again will satisfy the most devoted fan as well as new additions to the saga that is Sex and the City. | | | | | The girl's are back, and one can only wish they had stayed away. In this continuation of the first "Sex and The City" film and HBO series, the four fictional women countless real women have come to admire, respect, and look to for both relationship advice and fashion forwardness have themselves gotten old. Not old in the sense of their ages, even if they are all approaching middle age, but old and tired in the sense that these characters have lost the sparkle a viewer comes to expect from them. Without a clear plot to the film we are left meandering through their boring and drab predicaments. Carrie (Sarah Jessica Parker) is trying to come to terms with married life and what it means for her social calendar, Charlotte (Kristen Davis) has found that being a mother is more work than she expected, Miranda (Cynthia Nixon) is at a career crossroads, and the once fabulous Samantha (Kim Cattrall) is doing everything she can to forego menopause, besides having sex with handsome young men. In every way these life trials could have been sewn together into a piece about finding yourself later in life all over again and the hilarity that comes along with it; instead they come across as making these women appear miserable. Even the expectation of witty one-liners and gut wrenching laughter they have provided time and time again is non-existent. A small dose of comedy is what you are given and it is not enough to balance out the dullness of every other moment in the film. Things do pick up when the girl's head to Abu Dhabi but in a disgusting attempt at humor the film actually insults the culture and makes American's look like the most ignorant and disrespectful people on the planet. Life has not turned out the way they intended or desired and it is the viewer who must live through the torture of watching the girl's try and get back what they have lost in themselves. Only to realize that there is no coming back from a sad rendering of beloved characters as such is in this film. | | | | | With Director Guy Ritchie (Snatch, RocknRolla) at the helm and Robert Downey Jr. taking on the role of the iconic British detective I desperately wanted to like this movie. 128 boring minutes later I wished I had waited for the DVD. It's not that the film is a complete waste of time; the costumes, production design, and action sequences are solid enough. Still, none of it ever seems to impress or inspire. The best part of the movie is the casting of Robert Downey Jr. as Sherlock Holmes himself and Jude Law as Dr. Watson. Gone is the Watson in which his only purpose is to serve as Holmes's fiercely loyal assistant. Law's Watson has the brains and brawn to see Holmes eye to eye. And Robert Downey Jr., utilizing his smarts, his wit, and his charm, is just an impossible actor to dislike. Law and Downey have a great onscreen chemistry together as the legendary duo, and yet there's not enough of it on display. Despite the failure to truly showcase the dynamics of Holmes's and Watson's relationship, the true culprit in this unsuccessful update is a lack of any real fun. Where's the fun in a mystery if the audience is never allowed to participate in the solving of the case? We get that Sherlock Holmes is a brilliant man, but it's no fun just hearing Holmes talk about everything after he's already figured it out. Due to an overly plotted and underdeveloped script, the audience is never engaged and the experience is never really joyous. The film definitely hints at a possible sequel or two. Let's hope that next time Guy Ritchie comes up with material worthy of his actors' talent and a mystery entertaining enough to be worth our time. | | | | | He's a 5, she's a 10. He's an unmotivated TSA worker at an airport. She is a successful and wealthy event planner. It is a seemingly impossible match but somehow Kirk (Jay Baruchel) and Molly (Alice Eve) make it work; the audience never feels like their relationship is preposterous. Kirk's boisterous guy friends that guide him through the ups and downs of his relationships are likable, authentic and their group has a good rhythm in their banter. "She's Out of My League" is a surprisingly fresh romantic comedy that reminds us that beauty is truly in the eyes of the beholder. At times the movie is a little unfocused, but it is a lot of fun from beginning to end and carries an important message about self awareness and self confidence. | | | | | In order to suspend your disbelief for however many minutes a film is, it needs to have a coherent structure. This film lacks any form of real structure. The whole movie is told via voiceover and utilizes a pause, rewind, fast-forward feature usually reserved for home viewing of a television show. It does not translate well onto film, especially in a movie theater. To say there is a beginning, middle, and end is impossible as it continually switches to various 'shorts' to tell parts of the story. The idea is that a kids memory cannot recall a whole story so they must tell what they remember or know. It may be a dream for someone with a short attention span since each short in itself is a mini-film, but for anyone who can actually focus for more than ten minutes at a time it feels incomplete. Sure, it has special effects, a tiny bit of imagination, and a couple cute kids but it does not have anything that truly grounds you in the story. | | | | | In the fourth, and final chapter, of the films featuring the practically beloved ogre Shrek and his gaggle of peculiar friends, everything is kept very simple. So simple it makes the movie quite enjoyable from beginning to end. In its attempt to not regurgitate the same old story lines from films prior it takes the viewer on a new journey; one where Shrek never saved Fiona, Donkey never met Shrek, and everyone else but Rumplestiltskin knows nothing of the famous ogre Shrek has become. By taking the story to this new place it not only gives a veteran viewer of the Shrek films something fresh but also opens the film up to a wider audience who may not be familiar with some, or any, of the films prior. Resulting in a Shrek that is a whole new adventure tale with the same old characters performing in ways they never have before, and giving a story that is not only enjoyable to watch but a welcome end to an animated franchise. | | | | | With an intellectual look into the psyche of people from all different backgrounds, whether rich and famous or seemingly anonymous, the movie takes you on an unforgettable journey. As you watch the many characters deal with their problems, ranging from the suicidal death of a loved one, or the harsh effects of fame, or drug-use as a coping mechanism, this dark world entrenched in Hollywood fills you with a sense of contempt for what is, and what may have been, in their lives had they, or those close to them, made different decisions. The movie presents an image of crumbling and destructive lives while surprising you with the idea that change is possible when you accept the truth and let it set you free. | | | | "We haven't heard the truth once yet, Chuck" - Leonardo DiCaprio as Teddy
Sanity hangs by a thread on Shutter Island and it is becoming increasingly difficult to differentiate the sane from the insane, the real from the hallucinations. The facility situated on this tumultuous island is a mental hospital for the criminally insane. The convicted patients sent to Shutter Island have been rejected from all other mental institutions because of the nature of their extreme psychosis and gruesome crimes. Teddy Daniels (Leonardo DiCaprio) and his partner Chuck (Mark Ruffalo) are US Marshalls who have been sent to Shutter Island to investigate the mysterious disappearance of one of the insane murderers, Rachel. Although DiCaprio's Boston accent drops in and out, he is still able to give a very well-measured and layered performance. Teddy and Chuck arrive by ferry, the only way onto and off the island, through a blanket of white mist, as if arriving from nowhere. From the moment they dock, the visual motifs of barbed wire and electric fences make the island seem claustrophobic. Initially, Daniels's arrival was met with openness and cooperation. Dr. Cawley (Ben Kingsly), the head psychologist, was extremely generous in providing them with the information necessary to conduct their investigation. As Daniels begins to delve deeper into to Rachel's disappearance, it soon becomes clear that things are not as simple as they seem. His trust in the hospital staff quickly turns to suspicion and before long Daniels is swept up in the whirlwind maze that is the hospital, which threatens to take away what he has come to believe is reality.
Martin Scorsese's Shutter Island is a richly crafted suspense thriller with elements of terrifyingly docile horror. It combines stunning visuals with the ugliness of human nature to create a complex world in which reality is always subjective. Since we view the entire film from the perspective of Teddy Daniels, our perception of reality is always tied to his. The film does a fantastic job of suspending the knowledge of the viewer by using Daniels as a potentially unreliable narrator. The viewer is perpetually left with ambiguous conclusions, never knowing which way is up even at the film's end. However, because the establishment of a firm sense of reality was not prioritized at the film's beginning, we, unfortunately, do not get a very good sense of the loosening of the seams of reality as Teddy Daniels slips further into insanity. | | | | | As the film weaves between the present and the past you are fully engaged in the character's life experiences and how through them he is able to answer his questions correctly to win the grand prize. The movie moves with perfect momentum and with such intimacy you never feel you are watching a film but instead you are experiencing it; the triumphs, the tragedy and the comedy that lives within the story.
| | | | | As the film opens you are thrown into a teenage boys dream. Young women having a pillow fight, bouncing on a trampoline in lingerie, drinking and debauchery everywhere you look. You have entered the most extreme sorority house on Earth, and it looks really fun. As always, something goes terribly wrong and all of a sudden a murderer is loose; with a "tricked" out tire iron and black hooded cape. This film does not simply focus on the killing of the sorority girls, it actually sets up a mystery to be solved. This makes the viewing of the film so much more enjoyable. Not only do you get the horror mainstay of killing people in inventive ways (and the killings in this film are very inventive) but you also have the chance to use your brain to try and figure out the who, what, and how of it all with the main characters. Be ready for suspense, a few shocks, and some very creative death scenes because who knew bubbles could be so frightening. | | | | Hello world, it is time to meet Dren. A human animal hybrid who is a lab created creature that should never have been born. Yet as a viewer of this film you may be more than happy she (it) has been. "Splice" delves into the scientific world of cloning and all of the implications it develops. This is not a horror film and if you are looking for such it is not going to satisfy you in any form. The film takes a more science fiction turn by showing the evolution of a species unknown to man. The horror remains in the idea of the unknown and what it means for civilization, the future of science, and the human condition. Dren may be a monstrous being but reconciling whether this monster is indeed good or evil is where the fun of "Splice" occurs. You never know where the film is going to take you or how far it is going to go as it grapples with the underlying issues of creating something unnatural. If not for the faltering in the end with originality and use of overtly sexualizing the creature the movie would be greater overall. Even still, "Splice" is a great film to get your brain working and to test the boundaries of what is natural and what is monstrous.
[Interested in reading more about "Splice"? Check out "Splice" Up Your Summer by Kristen Sales on Frame of Mind. | | | | | As a prequel to the former Star Trek films and the Television series the movie is anything but a strictly fan focused endeavor. It offers something for everyone regardless of your experience with the history of Star Trek and the tone is much more lighthearted and fun than you may expect. As a whole it delivers plenty of action, comedy, and a great mix of characters that make it easy to sit back and enjoy the show. | | | | | This is a movie that provides a great mystery and plenty of twists and turns that keep you fully engaged and wanting more. With a cast of characters that are likable and also detestable, given the circumstance; and a back story among them that is wholly unexpected but only makes for great entertainment it is well worth the 2 plus hours you spend in the theater. | | | | | If you are seeking a film that is heartfelt, touching, and wholly believable this is the one. The characters are full of range and emotion, and meld together on screen with a simplistic ease. It is a story about family, about overcoming ones past, finding your future and accepting who you are and the choices you have made. More importantly, it will make you feel something while bringing you laughter and possibly a few tears. | | | | | In this world of freaky doll-like surrogates the term 'plastics' takes on a whole new meaning. The premise of the movie had potential going in, but it loses you within minutes. There is no suspense or real mystery. Anyone who has ever been to a movie will be able to guess who the 'bad' guy is that's trying to put an end to surrogacy. Trying to actually understand how surrogacy is possible, and in such a short amount of time, is never fully explained. The explanation given is choppy and without real technological merit. The grand climactic moment at the end is anything but climactic. It comes and goes without a second thought. Falling asleep in the movie is quite possible, and being able to pick up at the moment you did fairly likely. Giving any more thought or analysis to this film is pointless. It is a science fiction thriller that lacks both the science fiction and the thrill. | | | | Review Coming Soon | | | | | The main premise of the film might be a little over the top and dark; it is about women being sold into the sex trade. Do not let this discourage you though as the movie is a great action thriller. Liam Neeson as the main character Bryan Mills is surprisingly tough and wholly believable as an ex-spy who has subsequently aged but can still hold his own in the field. Quite simply, this movie is an exciting ride worth taking. | | | | | This is a film that has something for everyone, but it may have too much for some (if you have issues with drug use, nudity, and sexuality in its purest forms). Do not let this deter you from watching though since so much of what it offers is unbelievably grand. As the story moves along it only becomes more engrossing and you find yourself in a trance. This trance overtakes you as the infectious nature of the people, the "hippies" so to speak, affects each and every character and you, the viewer, in return. Life is breathed into those who thought their lives were over, and also into those who had not a clue what or where their life was going to take them. The festival is not the focus upon which the movie ultimately falls. It is about self-expression, love, acceptance, and peace. Things everyone can, and should, subscribe to in their daily lives. Do not be surprised if you have a smile upon your face throughout as you experience first hand the people and the passion that brought three days of peace and music; with a dose of love, happiness and togetherness for all to create a cultural milestone. | | | | | The film offers a new twist on the Terminator saga and it is a welcome addition. Quite possibly the best thing about the movie is the way it is presented, as a war film. There is more to it than just explosions, machines, and special effects. It runs at a slower more methodical pace, building intensity as it moves along showing that a deeper meaning exists, one that goes beyond the simple man vs. machine dynamic. While giving rise to a whole new meaning to what a cyborg is and can be, along with the ideas of consciousness, it tests the notion of "know thy enemy, for thy enemy may be thyself". | | | | | The film may be considered a romantic comedy but it offers up a great deal more. This movie is by far a character piece as it centers on showing the traits and little quirks of each individual. It is full of moments that will make you think deeper about life, love, and sadness and the ways in which people deal with these issues individually or with the help of others. | | | | | In life, nothing ever seems to go as planned and well, that is what makes it so much fun; as this film points out time and time again. Zoe (Jennifer Lopez) has everything in life except one major thing she had planned on by this point - a baby (and presumably a man to help her out with having one). Taking matters into her own hands she does what any successful, independent, modern day woman would do and gets artificially inseminated. As fate would have it on the same day she meets the man of her dreams. Whoops! It is one thing to have to tell someone you're dating you, for example, have a tendency to snort when you laugh let alone that you are pregnant from a can of frozen sperm. Watching Zoe struggle with this dilemma is overtly entertaining and watching her new beau Stan (Alex O'Loughlin) deal with the news is even better. The blank stare into nothingness as he ponders his impending future with Zoe is spot on as a man overwhelmed and bewildered at the reality of what his future holds. Once the initial shock wears off you are treated to the generic escapades of a woman and man preparing for baby while also getting to know each other. This may not be the greatest romantic comedy you will ever see but it still holds true to the formula and you feel in the end satisfied. Sometimes that is all you can ask for and all you need.
| | | | | Movies are all about suspending our belief and withdrawing into worlds where the unbelievable becomes real, even if for a mere 120 minutes or so. This film is a rarity as you find yourself doing just that but then realizing along the way this is a true story. As unbelievable as it may seem. With good judgement the filmmakers made the choice to not dwell on the negative. To not hash out all of the terrible things that happened to Michael Oher before he met the Touhy family. It gives you just enough to work with to understand how a chance encounter on a rainy evening changed a boy's life in ways unimaginable. Never one to live in self pity or doubt Michael shines as a survivor; and the Touhy family, led by a sassy ball busting performance by Sandra Bullock as matriarch Leigh Anne, come across as loving people who opened their home to a stranger only to end up bettering his life and theirs as well. There is a genuine sense of love that comes across as you watch and a surprisingly jovial tone to most of the film. It is full of smart wit and comedic jaunts when least expected. It is a movie that will touch your heart while showing the power one has inside of themselves to overcome anything and achieve greatness. | | | | | In a post-apocalyptic world the battle is not one of survival, but one of power through religion. The film begins in the all too familiar barren landscape of the atypical world brought to ash. A savage land full of cannibals, rapists, and murderers. One man is the focus, Eli (Denzel Washington), as he travels the long road west in search of what he has been told is the place he must share the prized possession brought upon him years before: the King James Bible. It is the Bible that takes the center stage and all that it promises. Be it power in the hands of Camegie (Gary Oldman), a Czar of sorts, over the surviving inhabitants. As he so pointedly remarks when questioned as to the importance of the book by his men, "It's not a $&*#*^ book, its a weapon!". In Eli's eyes it is a link to redemption, value and the promise of a future for humanity. The film does successfully paint the picture of a messiah figure in Eli yet it does not succeed in accomplishing the main twist of the film. When the ending is brought upon us we are delighted at the unexpected events but upon further thought and analysis realize it is without question faulty in its execution. There is much to analyze throughout the movie and those who have faith, or those who question the very idea of religion, will take pleasure in experiencing how the bible is seen as a powerful force over people. Whether in the hands of good or evil. | | | | If we had the power to fast forward through movies in the cinema this would be the first one I would use the technology with. The movement between story lines during the first hour leaves you bored and uninterested. The detectives are merely baffling around while they drool over the new FBI agent assigned to the murder case that inevitably brings the Saints out of hiding and back to Boston. When the Saints are on screen it is a pleasure to watch. They have the charisma, chemistry, and comedy that makes for a great duo. Even their new sidekick, Romeo, adds a level of charm to their world of vengeance. If only the film merely focused on their story directly and left the rest of the movie, including the lame and disruptive flashbacks, on the cutting room floor it would have made for a great film.
There is also the great disappointment with the poor attempt at creating a Godfather-esque family with Judd Nelson portraying the boss Concezio Yakavetta. The moment he opens his mouth and the raspy voice of his character is heard you cannot help but roll your eyes at what a disgrace this performance is to the history of amazing gangsters on screen. If you ever thought he may be a force to be reckoned with you immediately lose any hope of that when he chooses his weapon of choice to make a point to one of his guys, a gigantic salami. If it was intentional to make him and his gang look like a bunch of buffoonish thugs the Director, Troy Duffy, exceeded beyond belief. He did not succeed in having the audience understand his intentions though. Only adding to this disgrace is the napoleon complex given to one of the antagonists as well as the holier than now judging of the other one. Their motivation is never really explained and the one explanation you do receive is fraught with holes.
If you can hold out until the last 40 minutes you will finally begin to enjoy yourself and find little wrong with the movie at all. It is just getting to this point that hurts. | | | | | As a bounty hunter it may be a dream come true to get the job of taking in your ex-wife. Especially when your feelings for her are from positive. Milo (Gerard Butler) takes great pleasure in performing this deed on his ex, Nicole (Jennifer Aniston), and he appears to be having the time of his life for the majority of the film. Nicole on the other hand never escapes the bitter, angry, and downright annoying nag of not only the jilted ex but also the reporter trying to solve a possible murder case and being blocked by her arrest warrant. The film desperately tries to get us to enjoy their negative responses to each other while throwing in a B and C storyline into the mix. Milo is wanted by a loan shark and Nicole by those her story will expose. A large majority of time is of course spent on the relationship between Milo and Nicole and this is where the film falters as they do not possess a strong enough connection or story arc to keep you interested. Once the other elements from outside parties pick up the film improves but it takes quite a while to get there and even then it is not full of much substance. Frankly, "The Bounty Hunter" just misses the beat in far too many ways to make a viewer feel satisfied in the end. Instead you remain on the hunt for a better, more entertaining, romantic comedy. | | | | WTF?!? This is what the viewer is constantly asking himself/herself throughout the majority of the movie and that's not exactly a bad thing. In fact, the weird factor is the film's most entertaining aspect. Based on a Twilight Zone episode and a short story by Robert Matheson , The Box takes place in 1976 Virginia near NASA's Langley research center. Actors James Marsden and Cameron Diaz play a financially troubled couple; Arthur Lewis sees his astronaut application denied and Norma Lewis is a teacher who limps not because of her off-putting accent but due to a few missing toes. Enter Arlington Steward (Frank Langella) who offers the couple a million dollars if they press a big red button atop a box, a cheap looking wooden contraption with a snow globe on top. The only catch? Someone they don't know will die instantly. However the contrived premise isn't the primary culprit in this ultimately unsatisfying movie, it's the fact that much of the fun is deteriorated by film's end. The first half is creepily delightful with a mystery involving NASA, the NSA, Mars, lightning, zombie-like "employees", and lots and lots of bleeding noses. Although still creepy, any intrigue is lost in the second half as the film is reduced to an overly serious, pretentious mess complete with Sartre philosophy, religious undertones, and lessons on desire. It may be ambitious, but it's difficult to take the movie seriously when the set piece's psychedelic wallpaper is more captivating than any inkling of chemistry shared between the two lead actors. Director Richard Kelly's (Donnie Darko) latest sci-fi suburban tale of sacrifice isn't a complete waste of your time, but it's not exactly memorable either. | | | | | Overall, the film is a delight to watch. It is funny, romantic, exciting, and engrossing. All of the elements work together with such ease that you truly do escape into the world of the Brothers Bloom. | | | | | There is an incredible layer of sadness that resonates throughout this film. It is only exemplified by the muted colors, character personalities which are somber and distant, and the deep unspoken feelings that produce a melancholy world. The entire film is presented as a puzzle and the viewer is given pieces, spanning time and space, in unexpected ways throughout. Each of the story lines intersect and overlap without effort, and the transitions crossing time are so smooth you practically forget whether you are in the past or present. The deep richness of the tragic story surrounding Sylvia (Theron) slowly builds and by the time all of the pieces have come together you have witnessed a moving portrait of people consumed by pain, lies, betrayal, deceit, and little hope. The vulnerability and desperation that lies within any and all of us is painstakingly brought to life on screen while reiterating how hope and forgiveness are always possible. | | | | | There's something in the water and it's giving this small town in Iowa something to scream about, though I doubt you'll be screaming with them. The water supply in the small town of Ogden Marsh has been mysteriously contaminated and it is making those who drink it unexplainably violent and mutinous crazies. The sheriff of this small town, David Dutton (Timothy Olyphant), his wife Judy (Radha Mitchell), and his trusty deputy Russell (Joe Anderson) attempt to get to the bottom of the mystery and protect the townspeople who have not yet gone crazy. When the military gets involved and puts the town on lock down, it becomes clear that the story is much bigger than the water supply. "The Crazies" has a potentially disturbing and horrific plot; a town's population becomes violent and zombie-like and begin turning on each other. However, because nothing in the filmic world is firmly established, there are essentially no rules, discernible causality or tension. For instance, the crazies themselves are never fully defined or consistent; sometimes they are zombie-like and sometimes they are coherent, sometimes they can die and sometimes they cannot. The lack of establishment makes for a rather uninteresting, one-layered film that only works on the level of cheap horror thrills. | | | | | This is a movie full of complications. The complications of love, loss, desire, distance, fear, and war. It deals with a multitude of emotions and the commitments we encounter during life. What it offers is a great love story, one between two women thrown together in the toughest of times and with a common bond to begin with, that of a man. Their friendship is never simple, but their love for each other is fascinating in its complexity. | | | | | This movie may be animated but it's not a movie for children alone. It is enjoyable for everyone and the laughter and good natured feelings you receive can be appreciated by anyone who sits down in the theatre. This world is one of many different animals. You have foxes, possums, rats, and badgers. They have manners, jobs, mortgages, and are for the most part civilized to human standards. Mr. Fox is a reformed bad boy, um I mean fox, who is looking for one last adventure. He finds it, and with it a whole load of trouble. This is a high spirited adventure story that brings a smile to your face and laugh out loud laughter to all who experience it. I must agree with one of the most memorable lines of the film and pass it on to you in the hopes that you will reward yourself with a great movie watching experience as you will..."have a cussin' good time". | | | | | The latest disaster from New Line Cinema is titled The Final Destination; one can only hope that the studio keeps their word. The "story" begins with a premonition that foresees the deaths of several in a bloody explosive accident at a race car track. Nick, the one cursed with these visions, thus saves his friends by forcing them to leave the arena before the accident ever happens. Fate cannot be cheated however, and so it takes eighty-two precious minutes from our lives to take the lives of characters the audience never cares about at all. Does that plot sound familiar? This rehashed and unoriginal film has nothing new to offer except for some bad special effects in 3D, but even that cannot possibly make up for characters with less dimension than a piece of cardboard. Okay, maybe this film was never destined to be driven by story or character development, but it's never really entertaining either. The movie manages to kill off a racist, a douche bag who cheats on his girlfriend, and an alcoholic who killed his family by driving drunk. The movie does forget to kill someone though: the audience member who has been praying for death since this piece of garbage's first frame. | | | | | Every great mystery should start with a murder. Perhaps not every one must but in this films case it develops a very large unanswered question and casts doubt upon many of the characters from the very beginning while also lending a token of comic relief that will radiate throughout the film. The murdered man or apparent suicide, we do not know as this is a mystery, is the ghost writer to a former British Prime Minister (Pierce Brosnan). It is the replacement ghost writer (Ewan McGregor) that we, as viewers, come to depend on to unlock the secrets of the ex Prime Ministers life and unravel the mystery of whether he did commit the atrocities he is being accused of by the International Court and/or was involved with the untimely death of his former ghost writer. To reveal exactly what he is accused of would be to reveal far too much of the plot and would no less spoil much of the excitement that comes with the revelations throughout the film. The drama and moderate thrills unfold at a meticulous pace never once allowing your mind to wander or having you believe you have solved the puzzle before the main character. Up until the very last scene you will be guessing, conjecturing, and fully engrossed in unearthing the truth and revealing the secrets of a conspiracy that goes deeper than you can imagine. All the while also reveling in the unique temperament of the characters and their penchant for sarcasm and dry humor that comes from the impeccable adaptation of the novel the film is based upon done by the Director himself, Roman Polanski, and Robert Harris as screenwriters. | | | | | The movie as a whole may be a bit on the sloppy side but it still delivers plenty of laughs. The main enjoyment comes from the variety of characters and the varying personalities they create. From the kind and sweet good girl to the overly racist, absurdly out of order war veteran, there is a character type to please everyones mood or disposition towards what you believe is funny. The actual story leans towards the lame side; car salesman can only be so interesting when trying to actually sell a car. Luckily, the film overshadows any type of plot with continual jokes about anything but cars leaving you adequately satisfied and completely forgetful as to what the story was really about. | | | | | This is a wonderful film about a young man searching for himself and another desperate to hold on to what he once had. It is all about people and relationships, the ones they have with others and with themselves throughout life and is full of laughs thanks to a magnificent performance by John Malkovich (Buck Howard) and an exceptionally crafted supporting cast. There is also a very distinct dramatic edge to the story that lends itself wonderfully to your emotional connection with the characters. At once they may disgust you, enlighten you, charm you, cause you pain with their actions, or reach inside of you and pull out your heart for what has happened to them. You may even say the film uses fame as a metaphor for life; the ups, the downs, and the moments in the middle where the people who surround you love you, even when you are not a "star". | | | | | This just may be one of the most ridiculous and over the top movies ever made, and it is hilarious. It plays out in the format of, "what happened last night?, oh that did" and just repeats from there. It is this structure that starts to wear on you as the film progresses but there are so many great laughs you just let it go and enjoy yourself. | | | | | The film carefully blends the suspense of a thriller with the all out fright of a horror movie. With perfectly placed scares, that will make you jump just enough in your seat, to a mind boggling story you cannot imagine to actually be based on real events it provides the necessities to keep you in the moment. Its main fault, and what ultimately makes it only worthy of a small part of your time, is as it progresses it moves far away from the believable and into the world of the strange and indescribable. To take liberty with a story in order to make it more cinematic is at times necessary, but this film goes one step too far. | | | | | This film offers a deeply moving introspective look at man during times of war and the sacrifices and risks he makes to fulfill his duty. It provides a seamless look into a world that is fraught with danger and delivers characters that are so emotionally invested and damaged they seek but a small moment of normalcy. Only to find that normal is something they can never be again. With a level of suspense that never lets up through the movie and a story that is utterly engrossing and fascinating throughout the film makes for a visit to the theater that is unforgettable. | | | | | There comes a certain moment while watching a film when everything comes together. The experience has been and continues to be rewarding until the final frame passes on the screen. There is another moment that is extremely rare and only occurs in a very small fraction of movies. It is when you realize everything you have seen before has not caused such a stir in your mind as the film you are currently watching. 'The Imaginarium of Doctor Parnassus' joins the ranks of these rarities in cinema. The plot may seem simple. A man on the run joins a circus-like show run by the immortal Doctor Parnassus, his daughter, his closest friend, and an orphan they took in as a boy. The Doctor's immortality stems from a bet with the Devil many years before, and the devil has come to collect his part of the bargain. Doctor Parnassus' daughter is to become the Devil's servant on her 16th birthday. In an effort to thwart this from happening a new bet is forged. Whomever can capture five souls first wins. If it is Doctor Parnassus he will save his daughter from the Devil. Moderately simple to comprehend, right? Nothing in the world of Doctor Parnassus is simple and nothing makes complete sense at first glance. An inquisitive mind is needed to decipher the many layers and intricate details of the story. The multitude of canted angles only strengthen this fact. Nothing is balanced but structure is present. This is not a film you can sit idly watching while never taking the extra step of losing your person in the story. It will challenge everything you know of cinema and the ways in which the mind comprehends information, both visually and aurally. It will entertain you to the point of exhaustion because you have not been given the chance to be passive. Just as it temps the characters to choose the good or evil path, it will tempt you into either releasing your mind to its whims or fighting the freedom that it may bring to your cinematic involvement. It is my hope you give in to the temptation of release. | | | | | Welcome to the wonderful world of white-collar crime. The Informant! is the mostly true story of an executive turned whistle-blower named Mark Whitacre. Now I say "mostly true" because although the movie is based on actual people and events, the audience is never quite sure of what to believe even as the end credits begin to roll. Yes ADM, an agribusiness giant responsible for the lysine that goes into everything from orange juice to maple syrup, was fined billions of dollars for an international price-fixing scandal in the '90s. And yes, this was mostly due to Mark Whitacre serving as an informant for the FBI for two and a half years. But no, Mark Whitacre is never really that dependable of a source. As the story unfolds, lies do not seek to make themselves clear, but rather throw themselves upfront to become the center of attention. And it's completely fascinating. Everything from the insider's look into corporate crime to Mark Whitacre as a character study is incredibly interesting and what's even more interesting is that the movie's a comedy. This exercise in style may not appeal to most people, but for those looking for entertainment other than explosions and robots look no further. The Informant! is like watching an eye-opening documentary, only funnier. | | | | | This is not a film for everyone. It lacks a great deal of what you would expect from a movie, and does not care. It takes patience and a level of acceptance to the nature of the story to truly understand and enjoy the experience of watching the story unfold. For it is full of excess and exaggeration and never actually finds its moment of redemption. | | | | | What should have been a suspense thrilled movie is instead dry and uneventful with little if any action and a story that wants to be overly intellectual but fails. | | | | | A world where no one can lie - that is something you could really contemplate for hours. In this filmic world, where it is a reality, the being unable to lie is not cause for concern, it's the way in which people spout out every thought and idea in their head. The ability to lie and the ability to keep ones' thoughts to themselves are completely different things but this movie treats them as one and the same. Not only do people tell the truth about everything but they tell you everything they are thinking, doing, feeling, and so on. This is obviously meant to add humor to the plot but instead it makes for an awkward and over done script that is begging you to laugh at the lack of self-control people have over their own minds. As this lightens up towards the middle you are thrown into a multitude of other focuses. The main one being: how to explain a lie when you are the only person with the ability to do so. The solution is...create "the man in the sky" aka God. To go any deeper into that would ruin most of second half of the film but all I will say is that it is not very entertaining or humorous. This is not because God should not be seen as a lie, no, that has comic potential of "biblical" proportions. Its simply the execution and how it stalls the movie completely. You never really know where it is going or where it will end up. The romance and attempts to woo the girl is always at the forefront but it gets lost so often as the covering up of the lies takes over. This may be a film that grows on you with multiple viewings, but do not expect to walk out feeling satisfied the first time around. | | | | | I have to have it! Why? I do not know exactly but I want it. Why? Well, John has one and Lucy is getting one so I have too also. There begets the story of the Joneses'. A make believe family who are paid to get their neighbors, and their neighbors, to want what their company is selling on behalf of the brands we all know so well. While also delving into the idea of manufacturing happiness when even a manufactured family is not perfect. This is a film all about keeping up with the Joneses' and the ultimate catastrophic results that can occur from the pressure to have what others have, no matter the personal consequence. The film is a simplified look into the aforementioned but in all its simplicity it remains fascinating to watch. It makes you examine just what drives you to purchase the newest gadget, the brand name sunglasses, join the latest diet fad, or rely on your credit card to keep you in the game. For at the end of the day he who dies with the most toys wins. Or does he? | | | | | You may have heard of a film called "The Karate Kid". It was released in 1984 and starred a teenager by the name of Ralph Macchio. It has since become a treasured piece of film history. This is a re-make of that film. Not so much a re-imagining, but an almost true to story re-make that even with its slight differences offers very much of the same greatness the original did for audiences over 20 years ago. Set in China, this karate kid is actually learning kung fu. and is only 12 years old. Two points made very clear early on in the film. (Why then it is called "The Karate Kid" is a mystery besides the apparent desire to work off of a brand to get people in their seats, but we can let that slide). Regardless of the change from karate to kung fu the film holds true to its roots. It is about a boy in a new city who is trying to fit in but because of his friendship with a girl makes enemies. In order to protect himself from the bullies he learns what they already know very well, kung fu. Enter the weathered, broken, and funny older man who becomes not only his teacher but his closest friend. Their bond of friendship, loyalty and respect is a key ingredient in making a film such as this work. Thankfully, Jaden Smith (Dre) and Jackie Chan (Mr. Han) work perfectly together. Their tender moments bring a tear to your eye while the humorous ones a smile to your face. Throughout the film Jaden Smith (Dre) proves not only that his character possesses bravery, a strong will, and dedication but also that he, as an actor, is coming into his own. He takes on the role with great energy and most importantly, has the viewer cheering for him from start to finish. The film may lack momentum in the second act but by the end all is forgiven and forgotten as it is inspiring and emotional. "The Karate Kid" will always be the true underdog story. The new kid on the block proving himself; not through possessions or popularity but through determination and discipline. If this is the karate kid for a new generation then so be it; and may it be remembered by them as it was [and is] for so many before.
| | | | If you've seen the commercials and trailers for The Kids Are All Right, you probably think it's a comedy. Why wouldn't you? The happy, smiling faces of beautiful, upper middle class people wining and dining in the brilliant California sunshine; it's the feel-good indie of the year! Well, not exactly. The plot sounds like a wacky sitcom premise: Joni (Mia Wasikowska) and her half-brother Laser (Josh Hutcherson) have two moms, flaky but maternal Jules (Julianne Moore) and breadwinning doctor Nic (Annette Bening). Each mom had one kid each using donated sperm. Now eighteen and eligible to find out about her father, Joni contacts the sperm bank as a favor to Laser, who's longing for some fatherly guidance. Their donor/father it turns out is Paul (Mark Ruffalo), a hairy, earthy, motorcycle-riding organic gardner and restauranteur who conveniently lives nearby.
What follows is funny, but not nearly as cheerful and sunny as the posters advertise. The interactions between the kids and newly-discovered dad are awkward in the extreme; Laser seems disappointed Paul is such a laid back hippy stereotype, while Joni finds his freewheeling lifestyle refreshing and inspirational in contrast to her own academic rigors (a star student in high school, she is leaving within a month for college). Although both kids are willing to accept Paul into their life, Nic and Jules' reactions are more complex. At first, Nic is hurt that Joni and Laser didn't consult them before contacting Paul, but it gradually becomes clear she's more threatened than upset. Jules, on the other hand, is wary but open. When Paul offers to hire her for some landscaping (a contract Jules' upstart business needs desperately), she happily accepts.
I won't divulge any more of the plot, but it gets messy. Director Lisa Colodenko and her co-writer Stuart Blumberg avoid many of the cliches that could have easily sidetracked the story. In a small film of this type, where the honesty of the writing and performances determine its success, cast and crew hit all the right notes. | | | | | Let us all hope that the title will make good on its promise and this will in fact be the last airbender film. Because I cannot imagine sitting through anything again that is so undeniably boring and poorly structured. The fact that the script uses more voiceover narration to explain missing parts of the plot, not story, cues you in very early on that there is not going to be much focus on continuity. Which is a serious problem when dealing with a story that has a large amount of material it must explain and move forward with in a short amount of time. This cheap short cut leaves much unanswered or explained even with the narration and the characters very one-dimensional. The airbender himself is devoid of personality. As the "savior" figure he is something far from one of the people since his people skills are in desperate need of work. If he was meant to possess one note emotions than Noah Ringer (airbender/Aang) did exactly what the character portrayal called for. As a viewer trying to embrace this character, it never happens. As for his two comrades, Katara (Nicola Peltz) and Sokka (Jackson Rathbone), Mr. Shyamalan must have forgotten they existed when it came to direction because they fair no better in acting ability or delivery. Surprisingly, there is one performance, and character, with a small amount of potential, Dev Patel's Prince Zuko. He moves between being the son set upon reclaiming his dignity with the feared fire nation and the more pacifist man he actually is inside. I would like to say the film tries to enact adventure, supply action, and develop a strong foundation to build on with the war between the fire nation and the others, with the airbender leading the charge. All I gathered from the film though, and I believe you will also, is that no one seemed to be trying to make a great movie. Or even a decent one. At some point it seems everyone gave up on The Last Airbender and as a viewer you will have no choice then to do so also. | | | | | Oh no, another horror movie with the word "exorcism" in the title. Sounds like a great time for a nap. Think again horror film fans. This movie is actually worthy of the genre. [To read the full review of this film please visit our Frame of Mind section here] | | | | | When it comes to delivering a truly disturbing film, those behind this one have exceeded expectations. The movie has everything you could ask for from a thriller, and a dose of horror thrown in for kicks. With the sublimely creepy characters your skin crawls with their devilish deeds and your stomach turns as they perform their morbid acts on the (almost) pure and innocent victims. It strikes terror into the audience and a newfound disgust for the lower depths of mankind. But, alas, there is vindication; equally gruesome and overly ripe it satisfies that place inside you that believes true evil should be punished, and punished it is. | | | | | Wake me up when it's over. The cure for insomnia can be found in this latest adaptation of a Nicholas Sparks novel. There must be a story somewhere in the first three-quarters of the movie, aside from boy meets girl and has a mud fight or girl hates dad for divorcing mom, yet nothing happens. The slow pace is unmanageable as there are no real turning points so you never know exactly where the plot is leading you and where it may end up. Then out of nowhere it hits you with what is becoming the "Sparks Cliche of Tragedy". This turn of events may pull at the heart strings and touch a nerve but it is still quite vapid. "The Last Song" should merely be a last resort. | | | | | As the credits rolled on "The Losers" something occurred to me, as bad as this film is people will enjoy it. This is not to say that the general movie going public has no taste in movies. It is simply that the film provides the loose, comedic, action driven plot that will draw people in and have them quite possibly leaving fulfilled. If they do not have expectations walking in the door that is; most do have expectations and that is why the film receives the lowest of lows for production. Marketed as a fast paced action flick with comedic undertones "The Losers" moves at a snails pace. It is only the bouts of humor that keep it alive from mainly two of the characters, Max (Jason Patric) and Jensen (Chris Evans). Max is the overtly effeminate bad guy who has no regard for human life but holds dear his ability to forge destruction and live the high life. Jensen is just another part of the team whose knack for computers runs parallel to his love for questionable t-shirts and his nieces soccer team. They are the ultimate comic relief and without them the film would suffer more than it already does. As for the plot itself, it is tired and lacking any form of originality. While also falling prey to a variety of holes and poor development. This movie is popcorn cinema at its worse. | | | | | With some of the most visually stunning cinematography and special effects drawn out of a wildly imaginative mind the film fails to actually deliver a well planned and engaging plot even though the story shows so much promise. The Director, Peter Jackson, spent too much time focusing on the in-between, where the deceased Susie Salmon exists, and not enough time building up substance in the plot. The basis of the movie is the disappearance and assumed murder of the 14-year old Susie, and of course the search for her killer. All the while Susie is still present, in the in-between, constantly watching over her family and seeing the effects her death has on all of them. We know who killed Susie, it is no secret, but we never know exactly how it happened and to what degree she was attacked by her neighbor George Harvey, a sinfully creepy pedophilistic character played by Stanley Tucci. It is left to the viewer to infer through carefully planned imagery and scenes drawn from the memory of Susie herself. Nothing is done on a linear level or with complete rationality. Answers are never given and while we do not need to see her murder, something I myself think was an excellent choice by Jackson, we do feel the need to have closure. Not only for ourselves but for her family and the authorities. What occurs is incredibly powerful but it is far too drawn out and without clarity to keep a viewers full attention for the duration. Time almost feels as if it has stopped about halfway through and there will never be an end or a resolution to the story. When a semblance of it does hit, at the almost two hour mark, you have spent so much time waiting it does not have the impact one may expect. | | | | | Never could I have imagined the force would be with me in a movie with a title such as this. Yet the force is there, and it is very strong in terms of laughter, plot, and top-notch acting by a cast of nearly all men. (I will leave my feminist rantings on that subject for another time and place.) These men are part of the Earth Army; a kinder gentler army, built on the idea of peace and love and harmony in the world. These men just happen to work for the United States Government. Perplexing...yes; executed brilliantly...a resounding yes. To give away any of the plot or specific originality it displays will only ruin the movie for a perspective viewer. For this is a film that you must expose yourself to in order to really grasp how much fun it truly is and how fulfilled you feel walking out of the auditorium. One thing is for sure though, you will never look at a goat in the same way again. | | | | Review Coming Soon | | | | | The film presents an insightful look into the angst and experimentation of 20 somethings. From the way in which we love, to the familial ties that must be broken to truly find ourselves, it is a powerful story for it brings a great level of sentimentality to the experience that is life. | | | | | When it comes to dysfunctional family dramas this movie hits the mark. It may not be a fast paced ride, but its full of emotion and it makes you think and consider what could possibly be going on between the characters below the surface. If you give it a chance and enter with an open mind you will find a deeply moving story about family, love, and the connections between people. | | | | | This is a movie that will make you laugh out loud and cheer at the sublime performance of Steve Martin as Inspector Clouseau. The film supplies a fun and entertaining mystery even if it does tend to leave the story to the sidelines and showcase the talents of the entire ensemble cast at times. | | | | | Everyone meet Tiana. She is not a Princess. She comes from a working class family and currently holds two jobs in order to save up to open her own restaurant. She is also Black, in case you were not aware. By being the first Black Disney (soon to be) Princess she has broken a long standing mold at Disney Studios and by also being a strong independent woman who does not need a man (or Prince) to make all her dreams come true she excels as the most modern of their heroines to date. Now meet Prince Naveen. He is a Prince who has spent his entire life being pampered. He is also a Playboy. Most importantly though is that he is broke. His parents have cut him off and he has not a dime to his name. Now that changes the usual dynamic quite a bit. When he and Tiana meet it is anything but love at first sight and so ensues the witty banter, the casual flirtations and blatant brush offs and the makings of a screwball comedy romance that will have you laughing out loud. Tiana and Prince Naveen are two very different characters but with the help of each other, and some colorful friends along the way, they both grow and change and come to realize once you learn who you are you discover exactly what you need. Which is not always what you expected or imagined. The film shows us that life may not be a perfect fairytale but it is what you make of it, and perfection is relative. | | | | | This is a movie about getting to know Pippa Lee. From the second of her birth to the day she finally does something out of character. With a heavy dose of voiceover her life unfolds before us, and all of the questions we have from the first scene are answered slowly throughout - like her matter of fact rhetorical statement, "I wonder if i'm having a very quiet breakdown". As the story unfolds we are given memories and present day occurrences that spark our interest in Pippa, but there is also plenty of uninteresting and slowly paced moments where your investment in her is lost. Many things come across as cliche and drab while others, like her sleepwalking to the market to buy cigarettes that she then chain smokes without knowing in her car, are downright hilarious. This movie takes patience, and a desire to look deeper into what it may be showing and not exactly telling about a woman. For Pippa could be any woman, and she is many woman, all rolled into one debacle of a package. | | | | | This may be just another formulaic romantic comedy but it is great fun. It is full of laughs, great chemistry, and characters you will fall in love with along the way. It may not be something new, but it is a welcome addition to the group. | | | | | As the film begins everything is idyllic. The scenery, the soundscape, even the characters look as if they are living in a garden of eden. Then the sounds change, the lights go out and the Man gets up to fill the bathtub with water. The world will never be the same. In a post-apocalyptic tale such as "The Road" one can only sit in silence, watching and waiting, hoping and dreaming, that something somewhere good will appear. That hope still exists in a world taken over by fire, dust, debris, and cannibalism. It is a visual portrait of the end of the world and one man's fight for survival. Not purely for himself, as he is unselfish in his desires, but for his son. A son born into a crumbling world. As the Mother character states, "What kind of world is this to be born into", you as a viewer can only agree. It is this world that creates an incredibly touching film that will not only satisfy but touch you on the deepest most sacred levels. | | | | | "Girl's don't play electric guitars". Wanna bet? The Runaways took the music scene by storm in 1975, paving the way for female "rock" musicians for decades to come and this film does just what it should to portray their story...it rocks. Focusing primarily on two of the band's members, Joan Jett (Kristen Stewart) and Cherie Currie (Dakota Fanning), it chronicles how the band came to be and the circumstances leading to its demise. This whirlwind of a trip for the band is far from glamorous and even further from idealistic. It is plagued with drugs, alcohol, sex, and ego. At the same time it is full of female empowerment without heavy off-putting tones of feminism. As musical biopics goes it fully delivers on the promise to entertain, illuminate, and make you want to blast a favorite song that gets you up on your feet dancing, screaming, or doing whatever comes to mind as the moment takes a hold. In short, I love rock-n-roll and I love "The Runaways"; you just may also. | | | | | This is a truly wonderful film that will make you believe in the power of friendship and that acceptance above all else is the greatest gift one can give to another. The performances are absolutely fantastic and it moves at such a pace you only become more and more engrossed in the story as time passes. And for those who have a love for classical music, or the ability to appreciate the beauty in it, you will only dive further into the wonder and the power it holds. | | | | Laden with a heavy backstory of sorcery and age old feuds The Sorcerer's Apprentice pays far too much attention on young romance to keep the momentum going and viewer invested. Many centuries ago the magician Merlin had three apprentices. He was betrayed by one, Maxim Horvath (Alfred Molina), who teamed up with his greatest foe, Morgana, to end his reign and conquer the world. They were thwarted by the other two apprentices, Balthazar (Nicholas Cage) and Veronica (Monica Belluci). Upon Merlin's death he bestowed his magicians ring upon Balthazar and foretold the coming of a great sorcerer who would one day rid the earth of Morgana once and for all. Balthazar has spent many years searching and when he finds this soon to be great sorcerer it is by chance, or even fate. The heir to Merlin's power is none other than a geeky college kid by the name of Dave (Jay Baruchel) who specializes in physics. This part of the story is fun and held great potential. Especially the physics angle as sorcery is defined as science and magic, a key element in the finale of the film.
Watching Balthazar train Dave, with some success and many bumps along the way, gets you in the mood for the impending fight between good and evil. There are some great scenes of magic being conjured and small battles between other sorcerers. As well as remarks on history that will interest anyone with a penchant for witches and wizards. Then the film takes a turn and introduces a love interest for Dave. The introduction of this B-story does nothing to support the main plot and instead detracts the viewer from the enjoyment that was watching Dave become the sorcerer he was born to be. You desire more along the lines of training and magical doings, you do not wish to see an awkward teenager arrange a date. Bringing in the love interest for Dave is an obvious choice by the screenwriters as it tests Dave's commitment to the role of apprentice. It was not handled in a way to where we care whether he gets the girl or not. The real connection here, and the relationship that could have used more development, is the one between Balthazar and Dave. Their potential for a strong bond exists from the moment they meet, and they have a great master-apprentice chemistry going on at all times. More of the two of them and a stronger focus on the magic would have made this a really enjoyable film. Instead it passes as mediocre, neither boring or exciting. | | | | | Bob Ho (Jackie Chan) just wants to retire from being an international spy and live a quiet life in the suburbs with his girlfriend and her kids. A group of ridiculous Russian villains have another plan for him. Most of the film is dedicated to Bob and the kids adapting to each other and his pathetic attempts to try and get them to like him. An occasional cut-back to the hapless Russian villains occurs but I am sorry to report this is a "family" movie in the worst way. The worst way being how it does not ever establish a real relationship between the characters to constitute the happy family togetherness the end should bring. It merely treads along never actually trying to make us connect with the characters and their plight. As for the Russian villains plot...the leader is more concerned with finding a tasteful modern outfit than actually taking over the world. There is no intrigue or suspense. It all is quite obvious how the film will end and everything that happens up to the end. The real antagonists of the film are the children. The filmmakers may as well have cut out the entire B storyline of the Russians and focused more on developing the familial bond. Then perhaps the movie would not feel like a bunch of wasted film stock. | | | | | The movie starts and as we all may expect a mystery develops - is he, or isn't he, a serial killer. Wait though, this movie forgot to do that. Instead it just gives everything away in the first ten minutes. Then it forces you to sit through a multitude of melodramatic family going ons while the stepfather, David (Dylan Walsh), develops more sinister and creepy facial expressions. It is sad to say but the film is more focused on showing the pubescent teenage female body, scantily clad throughout in bikinis, than actually giving the viewer a real story to latch onto. | | | | | The film does provide a great deal of suspense but the extreme seriousness of the situation the plot is trying to convey never quite reaches the level one would expect. It also lacks any real twists in the story and what is supposed to be a surprise is so clearly obvious given the build up to the moment. What it does make quite obvious is how traffic in a big city can be most inconvenient. | | | | | The one thing you need to know before you enter the theatre: bring a tissue, or three. This is a love story that will tug at your heart and have you grasping for answers as to how and why anything is possible. In the end you will be telling yourself with great love comes great sorrow and loneliness and you would not want it any other way. | | | | | As a paying audience member you should not have to wait an hour for a movie to get good; or decent, as is the case with this film. It is a bumpy ride of poorly placed jokes, subpar direction, and lackluster character development through the entire first and second acts. It finds its footing in act three but getting to this point is a yawn. Dwayne Johnson as Derek, aka The Tooth Fairy, tries to lay on the charm and supply humor to his predicament. He is after all a very large muscular man dressing up as a fairy - yes, many campy moments ensue from this alone - but even his sparkling smile and bumbling antics are no match for the absolute lack of, well, anything remotely substantial in the plot. There is a good moral buried deep down only making its appearance in the end, and by then it is a relief to see some good natured fun, character growth, and sentiment. This is a movie about believing in dreams. Reaching for what may seem to be unattainable. Perhaps it does just that in itself. One cannot imagine it could become something mediocre at best but it surprises you in the end. Alas, no matter how much it redeems itself it is still something that should be avoided. Unless of course you have a thing for men in fairy costumes. | | | | | After you get over the initial shock of some of the dialogue in the beginning of the film you find that the movie is nothing shy of drab. You are simply put in a situation throughout where you feel indifferent. It does not seem to matter what happens next because you are never brought to be invested in the story. There is no excitement or an unpredictable moment throughout. It is purely a poorly done formulaic romantic comedy that feeds off of what has come before it but tries to differentiate itself with some vulgar, or shocking, dialogue from its main character. Unfortunately, that one small change in the formula is not enough to save the film from being an utter waste of time. | | | | | If it were not for the subpar performances, ridiculous story, cheap thrills, and poor special effects this may have been a decent film. Then again, that is just about everything you expect from a film like this, and it fails on every level. | | | | | Looking for a decent horror movie? Look elsewhere. This movie is a complete bore. You will be trying to forget you saw it immediately. | | | | First, the audience is engulfed in the overpowering darkness of the screen. Then, slowly and languidly, the opening shot of a man riding his horse fades from black and makes its way onto the screen. Now, you are fully immersed into the world of 1913 Germany, only a year before World War I begins. Odd events are occurring in this small, highly religious village in Northern Germany. It begins with a doctor falling off his horse after coming upon a wire that was intentionally tied between two trees to injure him. This opening builds a kind of tension that lasts throughout the length of the film, as if one should constantly be worried of some unforeseeable threat. From there, other instances of torture unfold, each act more heinous and chilling than the last. However, the mystery remains: who committed these dark acts and why? Do these acts point to the mental instability of a solitary individual or to larger social issues, inbred by cultural emphasis? The title, "The White Ribbon", refers to the white ribbon of purity tied to a child's body after they have committed a sin. White is the representative color of innocence, however, in this film it signifies a sinner. This film basically undermines the societal preconception of innocence and begs the question, can innocence be trusted? Does it exist?
"The White Ribbon" is a beautiful and impeccably made film that is both stunning and emotionally gripping. Haneke's employment of certain Neo-realism characteristics allowed the story to have an incredibly affective quality. However I must forewarn you, it is not for the faint of heart. Aside from it being a long movie, it has some very disturbing themes such as incest, abuse, death and torture that are presented in a very realistic, uncompromising manner. Ultimately, this may not be the most entertaining night at the movies, but, I assure you, you will not be able to leave the theatre unaffected. | | | | | Staying true to B-movie aesthetics "The Wolfman" toys with the notion of serious horror and kitschy elegance. The hauntingly dark and forbearing countryside is engulfed in the mystery of a beast who hunts on the full moon, ripping his prey down to their bones. It is this beast that engages the viewer, causing both laughter at the cheap thrill of seeing him appear in flashes on the screen, his teeth barred ready to bite. Or the sudden burst of distress that engulfs you as he swiftly kills his victim, leaving the body (or body parts) sliced on the ground. The film appears to know it is not, and cannot be, taken seriously. Joe Johnston, the Director, makes sure of that with his choices to frighten while being playful with dialogue and the scenarios at hand. It never reaches a campy level, and this is to be thankful for, as it is a well-rounded story if somewhat predicable in its twists. Overall, its not going to change or develop the horror genre, or the tale of the Wolfman, in any manner; but it just may make you have a bit of fun for a couple of hours in the dark. | | | | | The film follows a very generic story line. Four women who are distinctly different, but the closest of friends, are faced with a difficult situation and must bond together to overcome the obstacle. It is a formulaic storyline but rewarding regardless for the audience member who is eager for female empowerment.
| | | | | The familiarity we have with certain Queens of England leaves little left to be explored in cinema. There is one Queen we have yet to meet during her rise to power, Queen Victoria. Be prepared to welcome her story, with its deep romance and familial drama, to the line of films on British Royalty. With a modern flare to the dialogue, that is a great relief from the stuffiness you can find in period pieces, the film immediately engages us with the teenage Victoria. We watch as she is made Queen but must fight for the right to actually be Queen by breaking free of those in her world who would try to stifle and control her life. Dealing with being a teenage Queen is the least of her worries as she also falls in love. This is not an arranged marriage form of love, or one of convenience. It is an honest and true romance between two people who both have responsibilities larger than themselves. It makes for an engaging long distance romance and even though we may know how it all turns out in history it is a pleasure to watch the romance unfold on screen. The two alternating story lines intersect on occasion leaving a large amount of space for Victoria to discover herself before giving her life to another offering a great independent heroine who just happens to find love while finding her own way at the same time. | | | | Why is there no review? Well, FilmFracture does not currently review documentaries. Maybe in the future. It is under debate. | | | | Welcome back Woody, Buzz, and all the rest of the gang. This installment in the Toy Story franchise has made me (and you shortly) realize just how much we have missed you. Andy is all grown up and moving away to college. Bad news for his trusty old toy pals who have spent the past years neglected from use and are now under threat of being thrown away. Andy makes a decision on what to do with them and in true plot twist fashion they find their way to a daycare center. What sounds like a dream come true for toys, who would not want to have a never ending amount of children to play with them year after year, becomes a nightmare. "Toy Story 3" turns into a rousing adventure while we experience the drama and endless comedy of a bunch of misfit toys, who have themselves become a family, try to escape the horror that is daycare. The evil doer behind their terrible experience is none other than Lotso, a seemingly lovable older bear stuffed animal who is suffering from a mean case of abandonment. His right hand baby is just that, a creepy baby doll who walks and can spin its head backwards. Their tight hold over the daycare should be envious of some of the most hated villains in cinematic history. The suspense of the break out is only magnified by the fear that they will catch and cause harm to our beloved toys. Only making this an adventure story that keeps you on the edge of your seat as even though we know things have to work out for the gang there is much peril to overcome and obstacles to face before calm and happiness can be reestablished.
Daycare holds a wealth of new additions to the toy world, both good and bad, but the most memorable has to be the Ken doll. With his endless need to defend his masculinity while showcasing his excellent taste in fashion he is a riot. Speaking of a riot, there is a point in the film where Buzz gets his wires crossed and we are treated to a Spanish Buzz, full of lust, passion, and all around suaveness. His repressed feelings for Jessie come spilling out with such charm you laugh and melt at the same time. It is the funniest bit in the film and occurs at such the right moment in time it showcases the perfection in writing behind this movie. In the end, the root of the story remains comradeship amongst friends and the unbreakable bonds we acquire. No matter how old we get, or how much of the past gets left behind, you must remember it fondly while embracing the future and new beginnings. This film brings to a close a chapter in Andy's life, and his toys all the same, while also opening up new possibilities for the future. It is great on every level and worthy of any accolade it may receive. | | | | | With a plot that tries very hard to be overly serious, and fails, the movie is simply a mash up of transformer robots in multiple battles and humans running for their lives. It does not have the excitement and the heart pumping thrill of the first installment in the franchise. It is so concerned with showcasing the CGI effects that it forgets the viewer would like more from a two hour plus film and most importantly a plot we can invest in fully. It does not help also that any big movie fan will see that much of the story line, new robots, and various production design elements have been borrowed and subsequently altered for use in this film. Originality is one thing Transformers: Revenge of the Fallen is sorely lacking. | | | | | The film supplies great moments of action. It is a moderate thrill ride throughout but tends to focus greatly on the love story angle, which takes you away from the point of the film: the action and effects. As for a story, it is practically nonexistent. It takes to long to find out what the actual plot of the film is and when you do you find it, it is nothing new with no great spin. | | | | The guilty pleasures that are the Twilight movies reach their highest level of melodramatic woe with this third installment. The movie must be referred to as a sequel, or threequel, because it starts right back up where the second one left off. If you do not know the backstory good luck figuring out who these people are and their motivations. I still firmly believe there is little, if any, merit to watching any of the Twilight movies (see Twilight: New Moon). It is still very difficult to watch many of the talented actors in the film perform worse than the guy on the street corner reciting lines from a random 70s movie. I was surprised though how Eclipse struck a chord of likability in me while watching. Considering I was in my teenage girl mindset I could see why millions flock to the theatre to watch these vapid characters. It is the same reason millions watch soap operas everyday on Television. The heightened melodrama, sexual tension, fits of jealousy, dangerous doings, and of course, the forbidden. When you bottle all of these up into a film it is very difficult to not find pleasure. Eclipse also manages to do what the others have not, it lightens the mood and quite often pokes fun at itself. The most obvious instance having to be when Edward remarks about Jacob, "Does he own a shirt?". Yes, the objectification and fetishizing of the young not quite legal Jacob is indulged quite frequently throughout the film. At least this time it is met with laughter both on and off the screen. This is where I think the acceptance happens with Eclipse than with any of the films before. No longer is it taking itself so serious all the time. All of the characters have adopted sarcasm into their dialogue and so just when you think you cannot take any more of the toneless delivery, or ridiculous lines, a moment of relief occurs.
In terms of story there is not much new to Eclipse than what has come before. The love triangle between Bella, Jacob, and Edward is in full swing. Some new levels being added, to twist it even more and leave the viewer salivating at the thought that Bella just may go hot animal over cold hearted blood sucker. Much of the movie is spent in conversation between Bella and Jacob, Bella and Edward, and even Jacob and Edward. Gasp! These boys are learning to play nice, or are they? As for the dreaded fight between the new vampire clan and the old, wise Cullen's...it gives you one great fight scene but otherwise, no real build up of suspense. This movie belongs to the love triangle and all else is just filler. | | | | | Vampires, Werewolves, a Virgin, oh my. That is the basis of the film, nothing more, nothing less. There is only one way to describe the magnitude of just how horrible is the production of New Moon. As I sat, about an hour into the film, a strange feeling occurred in my stomach. At first I thought the movie was having an impact on me. As if suspense and empathy were somehow breaking through the monotony and lack of anything remotely climactic or engaging thus far. Then I realized it was not for good reason I felt this way but that the bile in my stomach was slowly churning, trying to expel itself onto the seat in front of me and the poor audience member seated there. Luckily I was able to contain myself and make it through to the end but it was difficult. How many others felt the same I am unsure but from gathering that the only positive reaction heard during the entire film was when Taylor Lautner (Jacob) removed his shirt for the first time to reveal his man candy I fear I was not alone in my reaction. | | | | | When Jacob Black (17-year old Taylor Lautner) takes off his shirt for the first time teenage girls literally faint and more than half of the theater audience can now be classified as cougars. I'm not attracted to guys, but one doesn't have to be gay to admit, "Damn, that boy is stacked!" Not since Brad Pitt took off his shirt in 1991's "Thelma & Louise" has a shirtless bod made such a lasting impression on pop culture. And yet, Lautner's abs, a ridiculously attractive cast, some slightly improved special effects, nor turning up the volume of the pop soundtrack during action scenes can possibly save this movie from sucking. Sure the relationship between high school senior Bella Swan (Kristen Stewart) and heart throb vampire, Edward Cullen (Robert Pattinson) may be overly melodramatic, but that's not the problem. The problem is there's not enough of that cheese and rather the audience is tortured with a werewolf storyline that seems to drag on for Edward's 109 year-old lifetime. Fans of the book will be quick to defend, but ladies, movies ain't books. In this specific case, a faithful adaptation is more constraining than satisfying because the Bella-Jacob storyline seems to lack any real tension. Nothing really happens for the majority of the movie and so when something does, such as Bella racing to save Edward, we don't really care. There's plenty more wrong with the movie: ridiculous slow motion, cutting away too soon from potentially exciting scenes, laughable fading Edward holograms, etc., but I don't want every "twi-hard" out there to hate me. The film compares the Bella/Edward relationship and the Vampire/Werewolf feud to "Romeo and Juliet" very early on. I'm no English professor, but I'm sure Shakespeare would agree with me: the only tragedy is one must wait 120+ minutes before the end credits begin to roll. | | | | | The choices we must make in relationships and our future is examined in the film. It is a story about doing what is expected of us, and what is safe, versus taking a chance and experiencing something you thought impossible. With excellent performances and a script that is straight out of your own head and family life it is a movie that will bring about emotion and conversation. | | | | | The storyline of the film is nothing extraordinary. It has action and romance but they are not overly exciting and the acting is by no means great. It does entertain for the duration and gives insight into how the other films in the franchise fall into place, being this is a prequel. | | | | | An incredibly touching story of love and loss and adventure has been brought to life in this animated tale. | | | | | Every day we wake up and make a choice. These choices dictate our lives in the present moment and impact our future. For Ryan Bingham (George Clooney) the choices he makes are simple. Go to work, fire employees he does not know for a company he has no connection to, and continue racking up his frequent flyer miles in the hopes of joining the elite club of those who have flown ten million miles in their lifetime. He also occasionally has a casual romantic fling with a woman who has a similar lifestyle to his, or so he believes. This makes for a very shallow existence and the film attempts to portray him as such a person, shallow. A glimpse of possible change occurs when Ryan must fight for his own job and way of life. His antagonist being a webcam. It may sound strange but you could also interpret it is the character Natalie (Anna Kendrick) who comes up with the webcam idea [but I like it as the webcam itself]. A man who lives for his work does not have to fear losing his job, but his entire way of life. Ryan is being grounded and grounded to a man as great a loner as he is may as well be castration. So his journey begins to prove that the personal connection between firer and the fired is much to important to leave to a computer screen. Is Ryan thinking of others or just himself in this matter? That is a very good question. The film almost answers it in the end but with a character such as Ryan we may never know the truth. Then again, in all the ways he comes across as a man more concerned with getting through airport security quickly than having any form of emotional connection with his family or friends we, as the audience, know better. Ryan is not so emotionless after all and it takes two very different women plus a webcam to help us, and him, come to realize that fact. Taking this flight with Ryan is worth the cost of admission, if only for the way you feel in the end. You may not be happy, or sad, or feel much of anything. Yet as you reflect on the story, the hidden meanings lurking inside of it, do not be surprised if you start to examine your own life and the choices you make every day. | | | | Valentine's Day is a film about Los Angeles in love but it is also a film about Los Angeles. The film brings in Los Angeles as a character in the film by displaying specific landmarks (Hollywood Forever Cemetery), landscapes (Santa Monica beach) and specific streets (Wilshire Blvd). It attempts to embed the plot of the film into the complex movement of the city. Unfortunately, the film portrays LA in such broad strokes that only the stereotypes happen to surface and the presentation of the city seems forced rather than meaningful. LA becomes a place that has shallow values, is full of frustrated immigrant life, and is crawling with celebrities. The film's treatment of LA is rather similar to it's treatment of Love in LA. It tries to make the ubiquitous sentiment, love, the main character in the film. It does so by showing some important landmarks of different kinds of loves including old, new, grandparental, parental, shallow, high school, modern, cheating, sexual and old fashioned love. Ultimately, the film paints love in broad strokes and only the stereotypes (and cliches) happen to surface and the presentation of love seems forced rather than meaningful.
The film unfolds over the course of one day, Valentine's day, and follows a slew of celebrities as they take part in their Valentine rituals. I say celebrities not because the characters are characterized as celebrities but because the only thing that makes these characters interesting is their star power outside of the film. In some ways, the sheer volume of well-known stars in Valentine's days helps to fulfill and cement a kind of fantasy of what Hollywood (and by extension LA) is: a place lousy with celebrities. One positive aspect that did stem from this star effect was that the audience already felt familiar with the characters onscreen; it feels like watching a bunch of your oldest friends go through different stages of love and loss. Watch this movie if you are looking for 2 hours of high-gloss, mindless entertainment with fantastically beautiful people. | | | | | The story the film delivers is fascinating and provides a glimpse into a historic moment that could have changed everything. It portrays the struggle to take down one of the most powerful and frightful men in history with vigor but falls short of truly engaging the viewer for the duration. | | | | | A genuinely fun romantic comedy has arrived in 'When In Rome'. I can hardly believe it myself but it is true. The story follows Beth (Kristen Bell) to Rome to attend her sister's wedding. Beth is a workaholic who has little if any time for romance. She is the cliche romantic comedy lead as her pessimism for love and happily ever after are tainted beyond belief. This is the main reason the audience comes to like her especially. It is not about falling into a man's arms after a romantic escapade in Rome. This women is cursed, in the worst way. She denounces love and steals coins from the fountain of love; thereby making the men who threw them in follow her back home to New York City to profess their undying love for her. All the while she must also deal with the man she met in Rome making advances. With the band of misfits who have fallen madly in love with her and the adorably sexy appeal of Josh Duhamel (Nick) the movie moves along at breathtaking speed with bouts of comedy at every turn. Bell gives a charmed performance as Beth and every one of the misfits (a model, magician, sausage king, and artist) are uproarious. The "real" romance of the film may be cut too short as it would have been nice to see additional build up between Nick and Beth but you do not for a minute care as the entire film is so enjoyable. This may be what you call a piece of fluff filmmaking but its great fluff and sure to please those looking for a fanciful time in the cineplex. | | | | | "Let the wild rumpus start!" Just as Max shouts this out in Maurice Sendak's beloved children's book, perfectly cast Max Records shoots this first order of business as king of "Where the Wild Things Are" into the sky and throughout the entire film. This movie is not only a wildly fun time, but also a turbulent and poignant piece of art. Being 9 years old is both simple and complex. On one hand a boy's only concern is to let his imagination run free, building igloos in the snow and rocket ship forts in the living room. On the other hand, life's overwhelming ideas of love, death, divorce, separation, loneliness, and even existence is complicated stuff for any adult and so one can only imagine what a child goes through when trying to make sense of the world around him. Max results to visually striking bouts of mischief, violence, and temper tantrums. For him, Where the Wild Things Are ultimately lies within his heart and we are more than happy to be invited into this beautiful, terrifying, and undoubtedly personal space. Not since Dorothy left for Oz in 1939 has the journey home felt so emotionally profound. | | | | | Watching this movie is an experience. Everyone on screen is having such a great time it resonates into the audience. You want to cheer at times, scream at others, and rage against for reasons I will not divulge for fear of ruining some of the best parts. Ellen Page shines as Bliss, a girl stuck in a small town who is awkward and shy while being absolutely endearing. Watching her come out of her shell and grow as she finds her passion, in roller derby, is delightful. I will say this with much trepidation, this movie is a bit of a "chick" flick. It can appeal to everyone, as any movie has the power to do, but it is incredibly full of female empowerment. It is what lies at the core of the entire movie. Men take a back seat here. What is great for its very feminist viewpoints is how it is a mixture of the feminine and the masculine. These are not girly girls but they are also far from being pegged as manly women. It provides a great blend of displaying your independence as a woman while retaining the mystique of being a woman. These women have personality and watching them on screen is time well spent. | | | | | This just may be one of those movies you desperately try to like but cannot seem to pinpoint why you can't. It starts out strong and you are intrigued by the murder mystery; then it loses you about halfway through. Much of this is not due to the main storyline but the flashback sequences. They feel irrelevant and out of place. Instead of adding to the story at large they take away from it causing the momentum of the film as a whole to be lost. It grabs you now and again towards the end, and there is one action scene in the final act you will be on the edge of your seat for but that is about it. As the mystery unfolds the moment of climax you have been anticipating falls short of all expectations. You are disappointed at its generic and downright lame revelations. For all the ways it is creative in its other elements, the twist we all love and expect holds little if anything to get excited about, or feel fulfilled. | | | | | Director, Writer and Producer Tyler Perry's film "Why Did I Get Married Too" is not as cynical as the title insinuates. Rather, it is a film that seems genuinely interested in revealing what goes on between couples behind closed doors. While at times excruciatingly slow and talky, it somehow manages to have heart and to portray marital life in a relatively realistic way. Most of the time, the film moves too slowly and seems underdeveloped which is both tiring to watch and exactly like real life. The film centers around four married couples (and an ex-husband) that each have their own set of issues whether they be subtle or obvious. These nine friends and frenemies embark on a luxurious couple's retreat to the Bahamas where they hope to recharge and evaluate where they are in their relationships. Tyler Perry is effortlessly charming in his portrayal of Terry and Janet Jackson's portrayal of Patricia, a woman who loses control of her perfect life, is surprisingly layered and moving. Throughout the course of the film, as the characters return from this luxurious couple's retreat back to their their banal daily lives, the viewer is able to catch a rare glimpse of the messy innards of a marriage. | | | | | As the film revolves around the main character's life situations it is wholly apparent you are to see pessimism as not an incredibly negative way of life nor a healthy means of existence. Ben is a broken man who does not know how to balance the multitude of questions and doubts he has with the World with the things he should be overtly proud to have surround him. When he meets a woman from Senegal his tendencies to be a shut-in recluse slowly melt away but the romantic angle of the story never reaches a peak of true believability. We know she helps to bring about his change but there is not enough given to actually make us give her any credit. It is really just Ben making his way through the trials set before him that actually draws him out of his dark place. As much as watching this character piece of a film is just that, watchable, it lacks any real high or low points of dramatic sentiment. It merely moves along begging you to follow it through, only to never deliver on a level where you feel something great has occurred. | | | | | You may walk into this movie with high hopes. It does have Robin Williams as its star and Bobcat Goldthwait, a comedian, as the Director/Writer. Those are decent odds when it comes to a comedy. They missed the mark on this one though. It has its moments but its essentially really boring. The story throws you for a loop - i will give it that but nothing more. Happily sitting through the whole movie is highly unlikely. | | | | | This film not only delivers a wide array of special effects and action but it has a solid story that will please the viewer who is looking for a greater amount of satisfaction; not just another comic book based movie. It carefully blends a story of sibling rivalry, romantic entanglements, and vengeance that offers a variety of viewers something to grasp onto while watching. It also has a decent amount of humor when you least expect it that is a welcome relief from the highly serious and dramatic storyline. | | | | | As the film follows Zed and Oh on their adventure it inevitably becomes clear this is a movie that is all about poking fun at the biblical and historical stories we have heard our whole lives. If only it had a tad bit more creativity behind it to keep you in the moment for the duration. The movie is always humorous, if you are paying attention, but never quite great with its delivery. Plus, many of the big moments of action or drama are cut right when you least expect it and all you get to see is the outcome, not the actual moment. You start to feel cheated as this formula repeats itself over and over again. | | | | | In a world taken over by Zombies' the final human inhabitants are a band of misfits, who are quite a bit of fun. Whether they are killing zombies with baseball bats and garden shears, or conning each other out of their belongings the treat of watching them on screen in this Zombie filled world is just that, a special treat. In no other film has a Twinkie meant so much to one man, or the desire to make friends been such a necessity. Or who knew that everything is made better with a trip to an amusement park? Even if it is full of flesh-eaters. At the end of the movie you will have laughed, maybe teared up a little, and realized that it is not just about surviving the Zombie apocalypse. It is about surviving the world in general by having people you care about by your side. (A small warning, this movie is very graphic. Lots of blood, guts, and gore. If you get squeamish, it may be an issue for you. I think you will be fine though, it is worth it after all.) |
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