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Somewhere between parody and homage there's just doing something badly. Alien Trespass was clearly made with the intention to both emulate and satirize the classic B-movie sci-fi films of the 1950s – and not in a semi-serious Roland Emmerich kind of way, but in a careful replication of the era, complete with flying saucers, sub-par effects and some overly hammy acting. The problem, unfortunately, is that the movie aims to have it both ways and quite simply can't, straddling the cinematic line for about 10 minutes before falling gracelessly into its own confused voice.
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Hip-hop star DMX is "The Dog," a top-level drug dealer who pulls the strings in a murderous web of deceit and terror spreading through the bloodstained streets of New Orleans. Also starring Lou Diamond Phillips, Leila Arcieri, and Keshia Knight Pulliam, this thriller set in the dark, muggy underworld of America's murder capital has police desperate to stop the violence creating a Death Toll unlike any the city has ever seen.
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Sweeney Todd: The Demon Barber of Fleet Street
Tim Burton makes fantasy movies. Stephen Sondheim writes musicals. It is hard to think of two more optimistic genres of popular art, or of two popular artists who have so systematically subverted that optimism. Mr. Sondheim has always gravitated toward the dissonance lurking in hummable tunes, and has threaded his song-and-dance spectaculars with subtexts of anxiety and alienation. Mr. Burton, for his part, dwells most naturally (if somewhat uneasily) in the realms of the gothic and the grotesque, turning comic books and children’s tales into scary, nightmarish shadow plays.
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You’d think that a horror film that takes a good hour before anything actually happens would have something truly great up its sleeve to surprise us at the moment we think there's no hope of recovery. Well, even though Outpost does kick it up a notch as far as eventfulness is concerned in the last half hour, it’s just not anywhere near good enough to justify us sitting through its long, event-less first section.
Mel Gibson may be one of the most controversial figures working in Hollywood, but there isn’t much controversy to be had in his new movie Apocalypto. Instead, there’s a chase movie set amidst the last crumbling remnants of the once powerful Mayan civilization. That’s right, Mel sees the demise of one of the world’s most sophisticated civilizations as a Fugitive style thrill ride. Gibson sticks his audience in a time machine and uses it to show to them a half-naked Indian running through the jungle very fast.
If you were unfortunate enough to see DARKNESS in U.S. theatres in late 2004 or UK theatres in 2005, you didn't see it, simple as that. No, you instead saw what Dimension thought they could get the most cash for. Meaning, the film was edited heavily for both objectionable content and to fit in more snugly to a short attention span running time. In all, Dimension cut nearly fifteen minutes from the original running time. With Dimension's way, they over-dubbed any foul language, toned down some of the more frightening scenes and threw out some sequences altogether. This way, the film was cleared with a "PG-13" rating and fit nicely into a two hour running time, when you consider the half hour of trailers and soda commercials theatre patrons are forced to sit through, that is. So, much as everyone trashed the film on its U.S. release, your judgments are not for DARKNESS, sorry to say. You can't judge a film that has been chopped up to this extent. Two minutes of excised gore won't save a turkey like , but fifteen minutes makes a world of difference. You may have some harsh words to say about Dimension's butchery, but the original cut is another story.
Pretty Village, Pretty Flame
Since 1992, when the war in Bosnia began, we in the West have been inundated with images of unbelievable carnage -- photographs and videotapes of scenes so horrifying that we're almost afraid to believe them. Pretty Village, Pretty Flame takes us into the Serbo-Croatian conflict in a powerful condemnation of war that shares several qualities with the German films Das Boot and Stalingrad. Like those two movies, this one causes viewers to think long and hard about the real price of war, and leaves a lingering image in the mind that cannot be easily banished.
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Outside Providence is a simple coming of age story, a nostalgia-soaked trip back to the mid-'70s when the social fabric of the American youth was stitched together by sex, drugs, and rock music. The film, despite never venturing into uncharted territory, is funny, warm, and endearing, and features a protagonist who grows on the audience. Because the themes are universal (first love, rebellion against restrictive authority, generational friction), nearly everyone, regardless of their age or gender, should be able to relate to the experiences of Timothy "Dildo" Dunphy.
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The Rocketeer is a superhero movie, but it's a superhero movie of a different flavor. This isn't a Batman or a Superman clone. It isn't about a vigilante out to stomp out crime or a visitor from another world using his powers to advance truth, justice, and the American way. Instead, it's about an ordinary man who is briefly given the opportunity to do extraordinary things. Anyone who watched the early '80s TV series The Greatest American Hero will understand the basic philosophy underlying The Rocketeer. (The graphic novel upon which the movie is based hit comic book stores around the same time that The Greatest American Hero made his first TV appearance.) Superpowers may be granted, but true heroism comes from the heart.
In the noir-ish dystopian future of Sector 70, prosperity belongs to the few - and those determined to take it. Jarron Brenner did well by the system until his body was invaded by the technology he helped to sell. After a series of traumatic events, a mysterious agent Miranda May takes it upon herself to help save Jarron's life. Soon, however, they find themselves hunted by the shadowy forces of a conspiracy to dominate humanity's very soul. The Vanquisher is an enthralling mix of Hong Kong style action and X-Files atmosphere. It is an epic story of man versus destiny.
Fanalysis, a light-hearted documentary at what makes a fan a fan - and why. It is a cool glimpse into the world of Bruce Campbell, why he loves his fans, and how he approaches dedication that sometimes borders on insanity. Even if you dont know who Bruce Campbell is, it is a great film to see if you have ever been a fan of anything.
In this anthology of horror tales two hikers are trapped in a cave-in, a jilted teen lover turns bad, and man is murderously desperate to help his ailing wife.
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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 ...
The family goes on a quest for "The Griswold Family Christmas Tree." With his usual over-enthusiasm, Clark has planned a "good, old-fashioned family Christmas." His family is wary of his plans but Clark is oblivious. He has nostalgic moments of Christmas past when he is accidentally locked in the attic. Clark outdoes himself with 25,000 lights on the roof, but he can't get the power on. Eventually the lights turn on and they are spectacular, blinding the neighbors and causing a power drain at the local nuclear power plant. In addition to the usual family get together, the Griswolds have some unexpected visitors. Eddie and Catherine show up. In spite of all the good intentions and careful planning, Christmas plans go awry.
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A Broken Leghorn
On Old MacDonalds farm, an egg hatches in slow-witted hen Miss Prissys nest, and out of the shell comes a baby rooster. Fearing he will be replaced by the kid rooster and sent to be slaughtered, Foghorn Leghorn plots to do away with the little tyke.
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Matt Sorenson (Dolph Lundgren), a former boxer and San Francisco cop, now makes a living collecting debts for small businesses. The brutal death of of his high powered younger brother, Michael, changes all that forever. Intent on finding his brother killer, Sorensen infiltrates the powerful inner world of politics, business intrigue and casual sex. Rejecting the police and media theory that the murder is the work of a female prostitute, Sorensens focus falls on the corrupt big city businessman, Jim Conway. His obsession to discover the killers identity mounts a a series of other men are found murdered in a similar fashion. Sorensen looses all objectivity and becomes a one man vigilante
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