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“Serious Moonlight” suggests an unholy, watered-down hybrid of “The Ref” and “Funny Games,” played as a chirpy screwball comedy, if you can imagine something so bizarre.
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When you see a revenge film, you expect to see the reason for the revenge later taken in the film. It’s predictable and commonplace. The protagonist created out of these circumstances is indigent in their cause and the viewer feels no remorse for the people he justifiably kills because after all, we would do the same thing if we lived in fantasy world with skewed consequences and possessed their abilities.
Never Let Me Go
It is an accepted truth that adapting a sublime novel does not always result in a sublime movie. To an extent, this is the problem with Never Let Me Go, Alex Garland's adaptation of Kazuo Ishiguru's book. The film's tone, which attempts to capture the thoughtful style of the written version, is almost too solemn and reverent. The pace is slow-moving almost to a fault, treading along the line where meditative crosses over into somnambulant. When it comes to observing its central three characters, Never Let Me Go rarely stumbles but in filling in the blanks around them and developing the world and society of which they are victims, the movie (even more than the book) leaves us hanging. The story is in a way a victim of its own inventiveness in that it provides a fascinating backstory that is addressed only in throw-away lines and insignificant subplots. Ultimately, the characters are less interesting than their circumstances, but those circumstances are of secondary importance.
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Because I Said So
Because I Said So is a made-to-order romantic comedy of the type "B" variety (that's the one where the heroine is torn between the socially and financially "ideal" guy and the one who really makes her happy). As I have previously written, a formulaic approach is not always a bad thing in a romantic comedy provided the screenplay shows moderate intelligence, the characters are appealing, and there's chemistry between the leads. Fortunately, Because I Said So satisfies these criteria. So, despite being rooted firmly in "chick flick" territory (with a high "cuteness" index), it has the capacity to please to viewers of both genders who appreciate the genre.
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It would be unfair and inaccurate to refer to Bee Season as "another dysfunctional family drama," although, in essence, that's what it is. Adapting from Myla Goldberg's novel, co-directors Scott McGehee and David Siegel (The Deep End) have fashioned a film that traverses an unusual path through the minefield of a splintering family. In addition to spelling bees (which the title alludes to), Bee Season explores Jewish mysticism, mental illness, and the Hare Krishna religion (which may be making its first screen appearance since Airplane!). In the end, it all seems too much for one small movie to contain. Parts of Bee Season work better than others, but I left the theater feeling more like I had watched the outline of a movie than been immersed in a fully realized motion picture.
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As coming of age stories go, Wah-Wah does little to distinguish itself. Based on the memories of actor-turned-director/writer Richard E. Grant, the bland film loses its focus early during the proceedings and never gets it back. With the late 1960s independence of Swaziland from Great Britain forming the political backdrop, Wah-Wah takes us through the adolescent struggles of Ralph Compton (played by Zachary Fox at first, then by Nicholas Hoult): his battles with his alcoholic father, Harry (Gabriel Byrne); his love/hate relationship with his absent mother, Lauren (Miranda Richardson); his warming interaction with his American step-mother, Ruby (Emily Watson); and his infatuation with a local girl (Olivia Grant). The problem with so much going on is that nothing gets the development it deserves. Wah-Wah comes across as derivative and perfunctory - a painless but forgettable journey across familiar cinematic territory.
Bottle Rocket starts and finishes strong, but, somewhere in the middle, it loses its focus and its way. Concentrating on a trio of incredibly inept criminals, there are times when this film seems like Reservoir Dogs as directed by Kevin Smith (Clerks). Unfortunately, while the two bookending capers are hip and funny, the rest of the film is a mixture of elements that clash as often as they mesh. The love story is cute, but the typical male bonding scenes come across as flat, unconvincing, and, worst of all, boring.
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It seems that hardly a year goes by without a new cinematic adaptation of one of Shakespeare's plays, and, of late, Kenneth Branagh's name has become intimately entwined with that of the Bard. While Branagh, who helmed Henry V, Much Ado About Nothing, and is now working on Hamlet, does not sit in the director's chair for this latest version of Othello, he is very much in evidence on screen in the key role of Iago.
The energy and the natural looking effects are what keeps this 1996 thriller fresh and watchable more than ten years later. Speed director Jan de Bont and Jurassic Park writer Michael Crichton teamed up to make this fast-paced adventure that has it's characters chasing tornadoes while their past chases them.
The film takes place in 2000 in the fictional town of Spurbury, Vermont, near the Canadian border. The plot centers on five Vermont state troopers who seem to have more of a knack for pranks than actual police work. The experienced troopers, Thorn, Mac, and Foster, spend most of their time devising new ways of messing with the heads of the people they pull over and hazing the new recruit, "Rabbit". They also find time to torment their easily infuriated radio dispatcher, Rodney Farva, who has been exiled from patrol work because he was involved in a fight with several students during a (potentially questionable and dubious) traffic stop of a schoolbus, which is later revealed during the credits. Their days of pranking and slacking off are cut short when the troopers suddenly find themselves trying to avoid having their post eliminated by the state's impending budget cut — resulting in their transfer, or quitting and opening up a roller disco.
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A commercial director and three extreme sports enthusiasts took their trip to a distant mountain retreat for seasonal practice and stunt filming. They stumble upon an intricate group of terrorists plotting an attack against them. The terrorists soon find out that they had been watched by the group and rush swiftly to kill the witnesses. Now racing for their lives against helicopters and expert assassins, the enthusiasts must put their quick extreme sports skills to the test in order to escape the mountain.
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Dave Chappelle: For What It's Worth
Comedian Dave Chappelle does what he does best in this outrageous and hilarious standup performance, which allows him to really push the envelope and go even farther than he does on his TV show. Taped in San Francisco at the famed Fillmore, Chappelle lets loose on such topics as black celebrities, what its like to have raunchy fans of his TV show approach him while hes trying to enjoy Disneyland with his kids, Michael Jackson, Kobe Bryant and crackheads, of course.
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Vietnam veteran Vince Majestyk just wants to grow his watermelons and live in peace on his farm. But the local mob boss has different ideas. When his workers are threatened Mr. Majestyk decides to lend them a hand but then the wrath of the mob is turned onto Mr. Majestyk himself. The poor mobsters dont stand a chance.
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Chronicles Jack Harris, one of the pioneers of internet commerce, as he wrestles with his morals and struggles not to drown in a sea of conmen, mobsters, drug addicts, and pornstars.
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Murder by Numbers
Two bored high school students, Justin Pendleton (Michael Pitt) and Richard Haywood (Ryan Gosling), decide to murder a random girl just for the challenge. They have planned everything ahead, and yet, a stiff homicide detective follows them much tighter then they have expected
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