Lawrence Kasdan's 1983 big-budget variation on John Sayles's The Return of the Secaucus Seven finds a cluster of old college radicals--who have since gone on to sundry professions and various degrees of materialism--reuniting over the death of a friend. Both playful and thoughtful, the film represents Kasdan (Body Heat) at his most astute. The attractive cast meshes perfectly into a group of characters for which a former closeness is out of synch with their current lives, yet their warmth is enviable and inviting. The script may be a bit too glib, with many one-liners, but it is still a perfectly designed story with telling irony and no little passion.
The considerable pleasures of In Bruges begin with its title, which suggests a glumly self-important art film but actually fits a rattling-good tale of two Irish gangsters "keepin' a low profile" after a murder gone messily wrong. Bruges, the best-preserved medieval town in Belgium, is where the bearlike veteran Ken (Brendan Gleeson) and newbie triggerman Ray (Colin Farrell) have been ordered by their London boss to hole up for two weeks. As the sly narrative unfolds like a paper flower in water, "in Bruges" also becomes a state of mind, a suspended moment amid centuries-old towers and bridges and canals when even thuggish lives might experience a change in direction. And throughout, the viewer has ample opportunity to consider whose pronunciation of "Bruges" is more endearing, Gleeson's or Farrell's. The movie marks the feature writing-directing debut of playwright Martin McDonagh, whose droll meditation on sudden mortality,
If Continuum, the second feature length, made-for-DVD film spun off from the long-running Stargate SG-1 television series, marks the end of this wing of the franchise--and it is hardly a certainty, given the show’s Lazarus-like history--then all involved, including the viewer, should be well satisfied. Continuum commingles all the elements that have made Stargate so eminently watchable over the years, including engaging characters and storyline, plenty of action, impressive sets, and first-rate special effects. This time the whole gang is on hand, as the most recent SG-1 contigent (Ben Browder as fearless leader Lt. Col. Cameron Mitchell, Amanda Tapping as the brainy Lt. Col. Samantha Carter, Christopher Judge as the implacable alien Teal’c, Michael Shanks as the ever-resourceful Dr. Daniel Jackson, and Claudia Black as the irreverent, motor-mouthed Vala) is joined by characters whose roles had been reduced or eliminated along the way
A lean, briskly paced and exceptionally creepy thriller, The Strangers earns its scares the old-fashioned way: through atmosphere, sound design, and a simple yet undeniably upsetting central premise that allows for maximum tension throughout its running time. Attractive young lovers Liv Tyler and Scott Speedman are already having a bad day--she's turned down his marriage proposal--before a knock on the door in the middle of the night announces a full-fledged siege on their remote vacation home by a trio of masked assailants. The film's first third delivers the most consistent shivers as the visitors make their presence and intentions known to Tyler; the second half grows more frantic and bloody before a gruesome finale that may leave viewers either rattled to their core or bothered by its empty nihilism
The feverish Hellboy II: The Golden Army is a very busy sequel that might have looked unhinged in the hands of a less visionary director than Guillermo del Toro. Ron Perlman returns as Hellboy, aka "Red," the Dark Horse Comics demon-hero with roots in the mythical world but personal ties in the human realm. Still working, as he was in Hellboy, for a secret department of the federal government that deals (as in "Men In Black") with forces of the fantastic, Red and his colleagues take on a royal elf (Luke Goss) determined to smash a longtime truce between mankind and the forces of magic. Meanwhile, Red's relationship with girlfriend Liz (Selma Blair), who can burst into flames at will, is going through a rocky stage observed by Red's fishy friend Abe (Doug Jones), himself struck by love in this film. Del Toro brilliantly integrates the ordinary and extraordinary, diving into an extended scene set in a troll market barely hidden behind the façade of typical city streets. He also unleashes a forest monster that devastates an urban neighborhood, but then--interestingly--brings a luminous beauty to the same area as the creature (an "elemental") succumbs to a terrible death. Del Toro's art direction proves masterful, too, in a climactic battle set in a clockworks-like stronghold tucked away in rugged Irish landscape. But it's really the juxtaposition of visual marvels with not-so-unusual relationship issues that gives Hellboy II a certain jaunty appeal hard to find in other superhero movies
In the trinity of modern horror films, there's the father (Michael Myers of Halloween), the son (Jason of Friday the 13th fame, a knockoff), and the unholy spirit, Freddy Krueger of the Nightmare on Elm Street films. The spectral man who haunted the nightmares of unsuspecting teenagers with deadly consequences, Freddy (as played by Robert Englund) was a truly frightening bogeyman and icon for the '80s. Unlike the hockey-masked Jason, who dispatched horny teenagers with mechanical and monotonous ease (he never talked, never took off his mask), Freddy was a truly creative and diabolical villain, with a sadistic and blackly funny personality. The hallmarks of the Nightmare on Elm Street series were imaginatively gruesome suspense pieces, set in the overactive imaginations of the teen victims. The first film of the series, Wes Craven's truly intelligent and scary film, was so hugely successful it begat not one, not two, but six more sequels, each pretty much diluting the originality and horror of its predecesor. (Horror fans will fondly remember Drew Barrymore's assertion in Scream that the first Nightmare film was great but all the rest sucked.) Still, there's fun to be had in the remaining films in the series, seeing as a number of aspiring filmmakers cut their teeth on the continuing saga of Freddy. Frank Darabont (The Shawshank Redemption) and Chuck Russell (The Mask) worked on the third installment, Dream Warriors (starring a young Patricia Arquette), and Renny Harlin (Die Hard 2) came to prominence with the ingeniously macabre fourth film, The Dream Master, coscripted by Brian Helgeland (L.A. Confidential). Craven and original star Heather Langenkamp did return for the last film, New Nightmare, which presaged the tongue-in-cheek postmodernism of the Scream films and resharpened Freddy's ability to scare.
Based on renowned sci-fi author Jerome Bixby's final 1998 manuscript, Man From Earth is the long-awaited film adaptation in which Professor John Oldman (David Lee Smith) attempts to convince his fellow faculty members that he is 14,000 years old. Shot almost entirely inside Oldman's cabin as he's about to leave his friends and career, the film's dialogue consists of philosophical chatting about the possibility and ramifications of his alleged birth during the Upper Paleolithic era. As his faculty peers are all anthropology, biology, religion, and philosophy scholars, the conversation levels remain high throughout. Oldman's friend Harry (John Billingsley) is well versed in multiple religions as well as in science, while Gruber (Richard Riehle) is invited to the house mid-story to evaluate Oldman's psychological state. Edith (Ellen Crawford) is the Christian voice, considering the religious repercussions of Oldman's assertion. All the while, Oldman's love interest, Sandy (Annika Peterson), remains quietly contemplative and most capable of believing that he doesn't visually age and has seen epochs and historical eras .
The recipe for Blade is quite simple; you take one part Batman, one part horror flick, and two parts kung fu and frost it all over with some truly campy acting. What do you get? An action flick that will reaffirm your belief that the superhero action genre did not die in the fluorescent hands of Joel Schumacher. Blade is the story of a ruthless and supreme vampire slayer (Wesley Snipes)
Batman Begins discards the previous four films in the series and recasts the Caped Crusader as a fearsome avenging angel. That's good news, because the series, which had gotten off to a rousing start under Tim Burton, had gradually dissolved into self-parody by 1997's Batman & Robin. As the title implies, Batman Begins tells the story anew, when Bruce Wayne (Christian Bale) flees Western civilization following the murder of his parents. He is taken in by a mysterious instructor named Ducard (Liam Neeson in another mentor role) and urged to become a ninja in the League of Shadows, but he instead returns to his native Gotham City resolved to end the mob rule that is strangling it. But are there forces even more sinister at hand?
Professional wrestling star the Rock, who was such a lump of flesh in The Scorpion King, proves surprisingly light on his feet in The Rundown, demonstrating charm and humor as well as the requisite toughness. Beck (the Rock), a repo-man for deadbeats, is sent to South America to find a treasure hunter (Seann William Scott) who's seeking a priceless golden idol--which the local head honcho (Christopher Walken) would like to get his hands on as well. Add in the lovely but dangerous barmaid with a secret (Rosario Dawson), and Beck has some obstacles to overcome. The plot of The Rundown isn't anything special, but the script is enjoyably clever and reasonably coherent; the capable cast keeps things lively; and the movie's relaxed but sinewy pace sets it apart from the frantic floundering of recent action flicks--kudos to director Peter Berg
Getting martial-arts superstars Jet Li and Jackie Chan together in the same action film is like a fantasy come true, even if The Forbidden Kingdom is more of a children's movie than an instant kung-fu classic. Yes, Li and Chan square off in a lengthy, acrobatic fight scene that is a lot of fun, though it can't be what such a scene might have been even a decade ago: careful editing now compensates for the 54-year-old Chan's slower moves and reflexes. Still, Chan doesn't disappoint as Lu Yan, a drunken immortal in ancient China who mentors a modern-day American kid, Jason (Michael Angarano), the latter having slipped into the past while in possession of a magical staff that belongs to the imprisoned Monkey King (Li). In order to get back to his own time and help an old friend (also Chan) wounded by thugs, Jason accompanies Lu Yan and a lovely warrior, Golden Sparrow (Liu Yifei), on a journey to return the staff. Along the way, a (mostly) silent monk (Li, again), who has spent his life in search of the staff, joins their mission. He helps Lu Yan train Jason in fighting and adding more muscle to the party as it comes under siege from a violent witch (Li Bing Bing) and pathological warlord (
How does Spider-Man 3 follow on the heels of its predecessor, which was widely considered the best superhero movie ever? For starters, you pick up the loose threads from that movie, then add some key elements of the Spidey comic-book mythos (including fan-favorite villain Venom), the black costume, and the characters of Gwen Stacy and her police-captain father. In the beginning, things have never looked better for Peter Parker (Tobey Maguire): He's doing well in school; his alter ego, Spider-Man, is loved and respected around New York City. And his girlfriend, Mary Jane Watson (Kirsten Dunst), has just taken a starring role in a Broadway musical. But nothing good can last for Spidey. Mary Jane's career quickly goes downhill; she's bothered by Peter's attractive new classmate, Gwen Stacy (Bryce Dallas Howard); and the new Daily Bugle photographer, Eddie Brock (Topher Grace), is trying to steal his thunder. Enter a new villain, the Sandman (Thomas Haden Church), who can transform his body into various forms and shapes of sand and who may be connected to Peter's past in an unexpected way. There's also the son of an old villain, Harry Osborne (James Franco), who unmasked Spidey in the previous movie and still has revenge on his mind. And a new black costume seems to boost Spidey's powers, but transforms mild-mannered Peter into a mean and obnoxious boor (Maguire has some fun here).
Welcome back, Mr. Bean! After a too-long hiatus, it's a breath of fresh air to see you out and about, innocent as ever, unwitting in the havoc you wreak and clueless in the chaos you cause. In Mr. Bean's Holiday (the title echoes Jacques Tati's breezy 1953 classic Mr. Hulot's Holiday), the resourceful man-child Bean (Rowan Atkinson) wins a church raffle that packs him off to the beaches of the south of France. But getting there is all the funny, as he is detoured by one mishap after another. En route, he comes to the "aid" of a Cannes Film Festival judge's young son, who is separated (no thanks to Bean) from his father at the train station. Bean also stumbles upon a commercial shoot directed by a stereotypical egomaniacal American filmmaker (Willem Dafoe), and crosses paths with an aspiring actress (a charming Emma de Caunes) also on her way to Cannes. Mr. Bean's Holiday, an upgrade over the 1997 feature Bean, was a box-office smash around the world, but in the States, not so much. Here, the shock gag has replaced the sight gag, and this G-rated Holiday might be considered by more jaded viewers as out of step with contemporary tastes (unlike Borat, there is not a mean-spirited bone in Bean's gangly, malleable body). But in the classic tradition of the silent-movie clowns, Bean's visual comedy is universal and requires little translation (there are limited subtitles in this film). Younger children will find a kindred spirit in Bean, who exists in some kind of state of grace, whether trying to digest a disgusting seafood dinner or hilariously lip-syncing to an opera in a public square
A HISTORY OF VIOLENCE
THE OXFORD MURDERERS
Spain released, PAL/Region 2 DVD:it WILL NOT play on standard US DVD player. You need multi-region PAL/NTSC DVD player to view it in USA/Canada: LANGUAGES: English ( Dolby Digital 5.1 ),English ( Dolby Digital Stereo ),Spanish ( Dolby Digital 5.1 ),Spanish ( Dolby Digital Stereo ),English ( Subtitles ),Spanish ( Subtitles ),WIDESCREEN (2.35:1), SPECIAL FEATURES: Interactive Menu, Making Of, Scene Access, Trailer(s),SYNOPSIS: A young Argentine mathematician visiting the United Kingdom is drawn into a complex murder mystery when his landlady is brutally slain in director Alex de la Iglesia's tense and stylish thriller. John Hurt stars in a film scripted by longtime de la Iglesia collaborator JorgeAVPR: Aliens vs Predator - Requiem (2007)
For those who found 2004's Aliens vs. Predator too lightweight in the gore-and-guns department, Aliens vs. Predator: Requiem offers a marked improvement in both categories, as well as a respectable amount of rumbles between the title extraterrestrials. Set in the 21st century (which predates the story to all of the Alien features), Requiem sends a crippled Predator ship crashing to Earth in a small Colorado town; unbeknownst to the locals, the craft is loaded with H.R. Giger's insectoid monsters, which make quick work of most of the population. As the human cast is slowly whittled to a few hardy (if unmemorable) souls, a Predator warrior also arrives to complicate matters and do battle with the Aliens, as well as a ferocious alien-Predator hybrid (dubbed a Predalien by the sci-fi and horror press). Visual-effects designers and music-video helmers The Strause Brothers (who make their feature directorial debut here) keep the action on frantic throughout, which is wise, since the dialogue and characters are threadbare at best; that should matter little to teenage male viewers, who are inarguably the film's key audience. Fans of the Alien franchise, however, may find the offhanded nod to the series' mythology given during the finale its sole saving grace.Dragon Wars (2007)
Stunning computer-generated special effects are the main selling point of Dragon Wars: D-War, a Korean-made fantasy about ancient monsters wreaking havoc in modern Los Angeles. The complex plot, based on legend, pits an evil serpent and its demonic army against a young woman (Amanda Brooks) who is the reincarnation of a young woman imbued with the heaven-sent power to transform the creature into an all-powerful dragon. Jason Behr (The Grudge) is the reporter who discovers that he too is a reincarnated warrior bound to prevent Brooks and her power from falling into the wrong hands. The elaborate premise isn't helped by the script, which delivers absurd dialogue and situations with child-like naivete; thankfully, the presence of Robert Forster (as another reincarnated hero) and solid actors like Elizabeth Pena, The Office's Craig Robinson, and Chris Mulkey, help smooth over the frequent moments of unintentional humor. But this won't matter much to fantasy fans and (especially) younger viewers, who will tune in for the film's riot of special effects; director Shim Hyung-rae and his talented team offer scene after scene of exceptional CGI creations, most notably a aerial dogfight between helicopters and winged lizards in the skies above downtown L.A., and a climactic battle which makes good on the title's promise. The DVD includes a making-of featurette which outlines Shim's four-year struggle to complete the project, as well as storyboard galleries and an animatics display
