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Love in the Time of Cholera
“Love in the Time of Cholera” sets itself the elusive task of translating Gabriel García Márquez’s masterpiece of magical realism into an upscale art film with popular appeal. Faithful to the outline of the novel but emotionally and spiritually anemic, it slides into the void between art and entertainment, where well-intended would-be screen epics often land with a thud.
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It is the year 1250 B.C. during the late Bronze age. Two emerging nations begin to clash after Paris, the Trojan prince, convinces Helen, Queen of Sparta, to leave her husband Menelaus, and sail with him back to Troy. After Menelaus finds out that his wife was taken by the Trojans, he asks his brother Agamemnom to help him get her back. Agamemnon sees this as an opportunity for power. So they set off with 1,000 ships holding 50,000 Greeks to Troy. With the help of Achilles, the Greeks are able to fight the never before defeated Trojans. But they come to a stop by Hector, Prince of Troy. The whole movie shows their battle struggles, and the foreshadowing of fate in this remake by Wolfgang Petersen of Homer's "The Iliad."
The Savages is being described in some corners as a "dark comedy," but such a designation does a great disservice to Tamara Jenkins' picture. This is not a comedy but a drama. To the extent that there is humor, it emerges from the uncomfortable situations in which the characters find themselves. To call The Savages a comedy is to set an expectation level that will not be met. No viewer will leave this movie smiling and upbeat, having spent 120 minutes laughing and chuckling. Instead, the film offers insight into painfully awkward family dynamics and, while a note of hope is sounded upon closing, it will not send audiences dancing to the exits.
What Just Happened?
Barry Levinson's Wag the Dog was as pointed, funny, and intelligent a political satire as there has been in the last 15 years. Now, with Robert De Niro once again on board, Levinson has turned his camera toward his own backyard. What Just Happened?, based on the nonfiction memoirs of producer Art Linson, is a satirical jab to Hollywood's solar plexus that proves the argument that sometimes the most absurd things in life are the true ones. While this movie is fiction, there's so much fact in it that it's more real than many of today's so-called "documentaries." The problem is that the movie plays like one long in-joke. Who really cares about all this stuff? Hollywood types. They'll gobble this up while the rest of us yawn. If someone made a movie about your place of work, you'd probably be engrossed but anyone without a close association would likely be unimpressed. So it is with What Just Happened? This isn't a bad movie; it simply makes the mistake of believing that it has a wider appeal than is actually the case.
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If one was to apply loose definitions, The Lucky Ones could be considered a "war movie." In reality, however, this is less about how the characters react under fire than how they react when removed from it. The Lucky Ones is a road movie and, in the tradition of the genre, it follows a small group of protagonists on a journey from Point A to Point B. Along the way, they encounter difficulties, meet "colorful" individuals, and find out a few things about themselves. There are times when the framework appears creaky and unwieldy, especially considering the story that director Neil Burger wants to tell, and events near the end of the movie take contrivance to the point of absurdity. However, the characters are likeable and well-developed, and this goes a long way toward mitigating problems that exist in tone and plotting.
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Recent times have been good to Marvel comics, and the long-anticipated arrival of Spider-Man represents the latest step up the ladder. Long the underdog in the motion picture arena, Marvel has at last been able to catch up to rival DC comics by placing a trio of its superheroes into multiplexes - Blade, the X-Men, and Spider-Man. DC may have struck first with Superman and Batman, but, these days, the comics-to-cinema summit belongs to Stan Lee's corporation. The second X-Men movie is on its way, as are Daredevil, The Hulk, and, a little farther into the future, The Fantastic Four.
I'm Not There
Few figures in 20th century music are more deserving of the label "enigma" than Bob Dylan. Reclusive, frequently misunderstood, and never pigeonholed into a niche, Dylan has remained a mercurial figure for the entirety of his long career. So when filmmaker Todd Haynes (Far from Heaven) announced he was going to make a film that would deconstruct Dylan, there was reason for optimism. Unfortunately, the muddled reality, called I'm Not There, doesn't live up to the promise. To capture the essence of a sometimes pretentious, occasionally unfathomable artist, Haynes has made a sometimes pretentious, occasionally unfathomable film. Dylan fans will love it for the music, but that's about all the production has going for it. In the end, many viewers will leave with two impressions: the music is as good as it always has been and Dylan is a bigger asshole than one might have suspected.
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End of Violence
Wim Wenders' The End of Violence offers the same type of experience one could expect from sitting through a David Lynch film with a reasonably-coherent narrative (unlike, for example, Lost Highway). Arguably Wenders' most disjointed film to date, The End of Violence is a neo-noir thriller that's really more about social decay and human isolation than it is about government conspiracies, mysterious murders, and missing persons. Unfortunately, it's also too long and too slow, and, by the time the end credits have started rolling, it has lost most of its energy.
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The passage of time often impacts how films are viewed. Some, like Citizen Kane, evolve from being modest successes into masterpieces. Others, like Robert Redford's Ordinary People, do not fare as well. Lauded by critics and the Academy alike, Ordinary People and its director were Oscar darlings at the 1981 awards ceremony. Nearly 30 years later, the film is hazily but fondly remembered; however, its position as the most acclaimed film of 1980 has long since been usurped by a film it beat for the Oscar, Raging Bull.
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007 Live and Let Die
Roger Moore makes his first appearance as "Bond...James Bond" in 1973's Live and Let Die. Bond is dispatched to the States to stem the activities of Mr. Big (Yaphet Kotto), who plans to take over the Western Hemisphere by converting everyone into heroin addicts. The woman in the case is Solitaire (Jane Seymour in her movie debut), an enigmatic interpreter of tarot cards.
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Jumping the Broom
The plot is about two African-American families who live on opposite sides of the social circle and have to get together for a marriage in the town of Chilmark on the island of Martha's Vineyard in Massachusetts. The Taylors are a downtown working-class family, whose matriach Pam Taylor , who is very upset when her son Jason Taylor announces that he is getting married to Sabrina Watson at the last minute. Sabrina, who belongs to the Watsons, an uptown rich family led by Claudine Watson, and just as upset as Pam when her daughter Sabrina announces the marriage at the last minute. Both matriaches are upset also because they barely know each other's family.
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Doug Kinney (Michael Keaton) is a Los Angeles construction worker whose job is constantly getting in the way of his family. On one job to build a new wing of a scientific facility, Doug meets up with Dr. Leeds, a friendly scientist who has developed a successful method for cloning humans, and is introduced to Dr. Leeds' clone as proof. The scientist, who is sympathetic to Doug's troubles, allows Doug to make a clone of himself that can take over for him at work, while he tries to spend some quality time with his family. The clone, called Two has all of Doug's memory and knowledge, but is overly macho. The clone seems to be a dream come true, but while taking his wife, Laura, (Andie MacDowell) out to a restaurant for dinner, he finds that two is on his own date. Doug realizes clones are not as great as they seem, and Doug begins to worry about his clone being revealed.
In Civil War-era Alabama, a band of outlaws takes refuge at an abandoned plantation after robbing a bank that held a cache of Confederate gold. Led by William, the group includes Sam, Todd, Annabelle, Clyde and Joseph. They intend to flee to Mexico, but nightfall and a thunderstorm force the robbers to remain in place. As the night wears on, each member of the group begins to have visions of the atrocities that occurred within the house. As supernatural forces begin to manifest themselves, the six turn on one another.
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Long ago there was a great samurai warrior who served his Shogun honorably. The Shogun however grew paranoid as he became more and more senile. The Shogun sought to destroy all those who might stand to oppose his rule, and so he sent his ninja spies to the samurais home. The ninjas failed to kill the samurai, but did kill his beloved wife. From then on, the samurai swore on his honor to seek out the Shogun and avenge the death of his love. The samurai roams the countryside with his toddler son taking on mercenary work for money until the final battle with the Shoguns three Masters of Death.
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Brooklyn car salesman Joey O'Brien (Robin Williams) must deal with the ever-increasing pressures in his life: he has an ex-wife demanding alimony, a daughter who's missing, a married mistress (Fran Drescher) and a single mistress (Lori Petty) who are both desperately in love with him, and a two-day deadline to either sell twelve cars or lose his job. In addition, he has an outstanding loan to a Mafia Don which he must either quickly repay, or lose his life.
On the day of the big dealership car sale (and the final day of O'Brien's deadline), the car dealership is taken hostage by an AK-47-toting motorcyclist (Tim Robbins) (on a Kawasaki H2) who believes his wife (Annabella Sciorra) is cheating on him. Joey manages to talk the man out of doing any harm to the other hostages, as police surround the dealership. After most of the hostages are released, the police wound the assailant due to belief that his gun was still loaded. Joey promises to stick with him while he recovers. In the end, he gets back together with his wife and drives off as the hero of the day.
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Eva Tudor met in his 16 th birthday and loved it all my life. But their relationship influenced permanent mysterious disappearance of a young man. During one of these disappearances Eva married Baron Von Oswald Seele. But when Tudor back again, the feelings between him and Eve break out with renewed vigor. They hold together nezabyvamoe summer. Eva became pregnant, her marriage is destroyed. Tudor disappears again, but in Europe the war begins ...