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Fast & Furious
Fast & Furious reunites the stars of the first installment in the high-octane franchise -- Vin Diesel, Paul Walker, Michelle Rodriguez and Jordana Brewster -- in a sequel directed by The Fast and the Furious: Tokyo Drift's Justin Lin.
The story finds federal agent Brian O'Conner (Walker) tracking down a drug dealer whose operation involves the use of street racers to ship his narcotics across the border from Mexico into the U.S. A murder that's tied to Brian's ongoing case reunites him with his fugitive ex-pal Dom Toretto (Diesel) as well as his ex-flame and Dom's sister Mia (Brewster), both of whom still harbor anger and pain over their betrayal by undercover cop Brian at the end of the first film.
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Dead at 17
It’s a sad fact that most of us have lost or will lose a close friend while we are still young. My first childhood casualty happened when I was in sixth grade. A good friend succumbed after a long battle with leukemia and he was gone forever.
That was a bitter medicine when I was a child and it didn’t get any easier to swallow as I got older. Within the first year of my high school graduation I had lost another friend, and then another. Honestly, I don’t even like to think of how many young lives ended too soon, each as tragic and unnecessary as the first. Yet somehow you find the strength to carry on with your own existence, even if you are never quite the same person you were before.
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The triple threat of tight scripting, impassioned playing and fluid helming sells “Chiko” as a forceful Turkish-German “Scarface” set in Hamburg’s rough Dulsberg district. Latest effort from “The Edge of Heaven” director Fatih Akin’s Corazon Intl. production shingle is set to open April 18 in Teuton markets, and has the potential to be a niche draw with popcorn crowds who can get past the subtitles.
Possessed of innate street smarts and a dead-eyed stare, Chiko (Denis Moschitto) dreams of success in the drug trade. His chief liability is combustible best “bro” Tibet (Volkan Ozcan), a blustery fighter who can’t grasp the big picture. Tibet’s mom (Lilay Huser) is undergoing kidney treatments, and the young men chafe at being unable to do more to help her.
According to several of the roughly 100 talking heads in The Aristocrats, The Joke has been around for a long time, dating back to the days of vaudeville. In addition to being called "The Aristocrats," it has other names, like "The Sophisticates." It goes something like this: A man walks into a talent agent's office and says, "Have I got an act for you! It's the most incredible, original act you'll ever see. My family goes on stage and does… [insert a variety of unspeakable acts, often involving incest, sexual deviancy, bestiality, necrophila, and scatology]" When he's done, the talent agent replies, "That's quite a show. What are you called?" The response (and punch-line): "The Aristocrats."
As much heralded, "edgy" movies go, Transamerica fails to live up to expectations. The final 30 minutes are interesting, funny, and affecting, but that segment represents less than a third of the running time. To get to the parts of the film that work, it is necessary to endure 15 minutes of setup, then an hour of some of the most uninspired road movie tedium in recent history. Road movies often turn into vehicles for lazy screenwriters, and this is no exception. The primary purpose of this prolonged portion of Transamerica isn't to bring the characters closer or to give us insight into their personalities; it's to stretch out the running length so we're left with a motion(less) picture rather than a short.
Hedwig and the Angry Inch
It doesn't seem all that long ago when musicals were one of Hollywood's most popular genres. Each year, studios would commit millions of dollars into lavish productions featuring some of the era's song-and-dance icons: Fred Astaire, Frank Sinatra, Gene Kelly, Danny Kaye, and many others. Much has been written over the years about the musical's fall from favor - how it went from being a cash cow to a white elephant. But, regardless of what the studio heads claim, the musical is not a dead art form; it has just changed from. Over the past two years, I have seen four musicals, all of which were made outside of the Hollywood system. None of these have been close to the "traditional" musical in content or approach, but all have shared a common characteristic - like the musicals of the Golden Age, they have used song and dance to tell their stories.
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Man Bites Dog
Man Bites Dog is a pseudo-documentary that follows the killing sprees of the murderous Benoit (Benoit Poelvoorde). With cameras rolling, he calmly explains his theories about killing people and weighing down the bodies so they won't float to the surface of whatever river or lake he dumps them in. He then proceeds to slaughter person after person, respecting neither age nor sex nor race, and murdering in a wide variety of ways from strangulation to a bullet to the head. All the while, the film crew trails him, heedless of the danger they put themselves in, and uncaring as they are drawn deeper and deeper into the psychotic, criminal world of their subject.
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Sexual taboos come in all shapes and forms -- bestiality, pedophilia, incest -- but none creates a more vivid image than that of necrophilia. So, when I say that Kissed is the character study of a necrophiliac, recognize that this film is intended for a very select audience. Anyone who feels incapable of watching a movie that deals frankly with this subject (even though it is, relatively speaking, tastefully approached) should steer clear of Kissed. Director Lynne Stopkewich's feature is for adventurous movie-goers only.
Out of Sight
In the middle of the summer movie season, when most films are designed with the intelligence of a seven year-old for viewers with the attention span of someone even younger, it's refreshing to find a picture like Out of Sight, which is not only smart, but a great deal of fun, as well. I enjoyed watching this movie more than Deep Impact, Godzilla, and Armageddon put together. Directed by one-time wunderkind film maker Steven Soderbergh (whose sex, lies, and videotape put him on the map big-time), Out of Sight will inevitably turn out to be one of the best thrillers of the year.
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The good thing about comedies, as a general rule, is that they’re too bland to have really bad plots. The search for laughs seldom strays too far off the beaten path established by the social mores of the target market, be that old ladies, stoners, or teenagers out on dates. There are comedies with solid plots, just rarely comedies with complicated plots.
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All the Pretty Horses
Although Michael has matured well since the first film, he still feels that by birthright he deserves to start at the top of his father's law firm, whereas his father tells him that he will start him as a job clerking in order to learn the profession from the bottom up. Michael takes a summer vacation with Tommy to Australia.
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Hellbound: Hellraiser II
The movie opens with a flashback of Captain Elliott Spencer (Doug Bradley) playing with the Lament Configuration box. When Spencer "solves" the puzzle, he is transported to Hell and transformed into the Cenobite called Pinhead.
The movie shifts to the present. Kirsty Cotton (Ashley Laurence) wakes in the Channard Institute, a psychiatric hospital, and is questioned by Homicide Detective Bronson (Angus MacInnes). The police have searched the Cotton home and discovered a bloody mattress, confiscating it as evidence. Kirsty meets Dr. Phillip Channard (Kenneth Cranham) and his assistant Kyle MacRae (William Hope). Kirsty briefly recounts her family tragedy, as featured in the first film. Kirsty begs Bronson to burn the mattress, thinking her evil stepmother, Julia, might use it to return from Hell.
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After a shoot-out kills five FBI agents in Kansas City the Bureau target John Dillinger as one of the men to hunt down. Waiting for him to break Federal law they sort out several other mobsters, while Dillingers bank robbing exploits make him something of a folk hero. Escaping from jail he finds Pretty Boy Floyd and Baby Face Nelson have joined the gang and pretty soon he is Public Enemy Number One. Now the G-men really are after him.
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Prot is a patient at a mental hospital who claims to be from a far away planet. His psychiatrist tries to help him, only to begin to doubt his own explanations.
Leo Fong plays a private investigator who is in search of a young girl kidnapped by a religious cult. Destined to save her, he teams up with a Vietnam vet, a pro-boxing champ and a former cop to save her..
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