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From Paris with Love
John Travolta wipes out most of the Asian and Arab population of France in From Paris with Love, a plotless, pointless shoot 'em up directed by Pierre Morel (Taken) from a story by Luc Besson. Travolta plays Charlie Wax, a CIA operative sent to Paris to take down drug dealers or anyone who works in a Chinese restaurant or designs dresses or looks at him sideways or might be a terrorist, in this non-sensical ultra-violent R-rated action film that exists only to please those into high body counts.
Besson takes credit for the story, but really there's not much of an actual plot in evidence. I'm guessing that whatever storyline Besson initially came up with, he was able to jot down on a single post-it note. The hows and whys of what's going down on screen aren't nearly as important as the spiffy ways dreamed up to kill off at least 30, 40, maybe even 50 or more - who's counting? - of what I'm assuming are supposed to be bad guys over the course of an hour and a half. Travolta even employs a bazooka at one point to take out a car loaded with a bomb heading straight toward an American diplomatic caravan.
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L'HISTOIRE : Chloé, 26 ans, vit seule à Paris, entre une voisine envahissante, une collègue mesquine, un loueur de DVD un peu donneur de leçons...
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“Of course, this is what it’s going to be all about from now on, isn’t it?” Buzz Aldrin (James Marsters) sighs. ” It’s not enough to go to the moon. You gotta do it on television.” It’s a reimagined Christmas 1968 when he poses this question to his friend and colleague Neil Armstrong (Daniel Lapaine). Looking up into the night sky, they ponder the dilemma stretching before them. No longer concerned about having the “right stuff,” as the Mercury astronauts might have been, the Apollo crewmembers know that they are expected to sell the program, to solicit public support and perform their adventure for cameras.
The Dolphin: Story of a Dreamer
The Dolphin: Story of a Dreamer is a relatively cute little animated adventure that tries so hard to be Finding Nemo, that it’s just plain sad. Based on Sergio Bambarén’s children’s book of the same name, this film is charming in some parts yet corny in others. It's a dangerous combination that will most likely win over the young ones but at the same time, repel adults.
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While the director name of Uwe Boll conjures up all sorts of ranging interests in the horror sector, it has long been a hit or miss relationship with his end products. As of late I must say that his products have been outstanding. Darkly outstanding for that matter. His subject matter content takes to the extreme and hits you in ways that you least expect. One of his previous films “Seed” left me with that impression. Though this film I’m reviewing is quite different than “Seed” it is absolutely shocking in the 10th degree. Based on a true story it is hard to imagine the human cruelty factor that this film delivers. We have seen many prison films over the years and have a certain amount of familiarity with what transpires. “Stoic” by comparison feels darker and dirtier. With that kind of setup you are probably wondering what it is that I’m referring to.
Ghost World could easily be considered an "anti-Hollywood coming of age story". Although it follows the contours of the genre, the path is different enough to make the movie seem fresh, non-formulaic, and occasionally surprising. Of course, for some viewers, this will represent a down side, since, by choosing not to play by the "rules", Ghost World is not constrained by the necessity to have a happy, unambiguous ending that wraps everything up into a neat little package. Personally, I like open-ended movies - they have more of a "real life" feeling to them - but I recognize that some people can't stand them (at a screening I attended of John Sayles' Limbo - arguably the most open-ended film of all time - distressed audience members threw things at the screen when the closing credits began to roll). Those who are unhappy with open-to-interpretation conclusions may feel cheated by Ghost World.
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I recommend The Last Kiss, but not without a misgiving or two. This movie is essentially a celebration of yuppie angst. It's about people in their late 20s who have issues with commitment and monogamy, who have lost their way and are trying to find themselves. Essentially, it's about middle age crises for people who are only a little more than half-way to middle age. The protagonist is obnoxiously self-centered, yet we are supposed to sympathize with him and (at least based on the ending) forgive him for some of the crass things he does. Nevertheless, I liked The Last Kiss because, no matter how self-absorbed some of the characters are, they are three-dimensional. People will identify with them. Not all the stories have tidy endings. And there's some wonderful dialogue to go along with the exceptional performances. This is one of those movies where you're willing to overlook the flaws in order to appreciate what's worth lauding.
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Rush Hour 2
While the rules of the buddy/action comedy are significantly different from those of the romantic comedy, one key ingredient is common to both popular genres: that of chemistry between the leads. Unfortunately, while both motormouthed Chris Tucker and rubber limbed Jackie Chan are energetic and charismatic in their own right, they mix as well as oil and water. Yes, their characters - Hong Kong Detective Inspector Lee and LAPD's Detective James Carter - are supposed to be mismatched. The problem is that the actors seem to be less in synch than their on-screen alter egos. There's more going on between sizzling Roselyn Sanchez and Chan, who only share a handful of scenes, than between Chan and Tucker.
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I won’t beat around the bush with this review, Dynamite Warrior is another film where the action scenes save the movie. Dynamite Warrior is the story of a young man on a quest for vengeance against the man that killed his parents… sounds pretty unoriginal right? The fights are all wire-enhanced Muay-Thai, and everyone not struck with a blunt, wooden object, takes a knee or an elbow to the head or chest.
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Renny Harlin, whose previous directorial efforts include Die Hard 2 and Cliffhanger, seems fond of big, explosive action pictures. Unfortunately, excepting his debut (the middle film in the Die Hard trilogy), plot coherency hasn't been a particularly important attribute of his movies. Cliffhanger was little more than a series of spectacular stunts linked together by a paper-thin story. If anything, the strands of logic in Cutthroat Island are even thinner. Fortunately, as a spectacle for the eye and ear, this high seas adventure is more than capable of capturing its audience's attention. Holding it for more than two hours is a different matter altogether...
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Belgium, December 16, 1944: First Lieutenant Thomas Hart (Farrell) is captured by German commandos during the opening of the Battle of the Bulge.
Taken to a local prison, his boots are confiscated and he is left naked in a cell. Threatened with frostbite and pneumonia, he is coerced into divulging intelligence to his German interrogator.
He and many other Americans are later transferred by train to a prisoner of war camp. While en route, a flight of P-51 Mustangs attack the station. Since the painted letters POW on the top of the train are covered by thick snow, the Mustangs fire on the train, causing some of the POWs to be killed by friendly fire. To save themselves, the POWs leave the train, spell POW with their bodies, and prevent further strafing.
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Jack and Jill vs. the World
Jack (Prinze Jr.) is a thirty-something New York City advertising executive, living a life forged from routine. He is successful and stylish... and extremely bored. Jack meets Jill (Manning) by chance on a rooftop. Jill is looking for an apartment and asks Jack for directions. Jack suggests Jill's name for an ad shoot. Later he drives Jill to her apartment and realizes the neighborhood may not be all that safe. He helps Jill move out of her place and the two move in together by week's end. The pair pieces together a playful manifesto of "rules to live by." Jack's best friend and business partner, George (Stebbings), notices a more playful side to Jack's usual cynicism, and wants to meet the cause.
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There are approximately 8 or 9 fights on here. Theyre real fights, including boxing matches, bare knuckle matches, and some allow the competitors to continue pummeling the opponent when theyre down. I think there were one or two girls in here that were actually attractive. Well, one at least. About three of the fights are fairly descent, three full rounds with a good amount of action. A couple of the fights end after one girl gets punched a few times and decides to quit. A few others are totally inexperienced girls flailing away at each other, completely unable to hurt each other, so they eventually become exhausted. One fight has a fat girl vs. two normal sized girls, and its like a fight from the Jerry Springer show. There are at least 5,000 punches thrown but theyre wearing padded headgear and nobody can hurt anybody. In one of the good fights, one of the girls gets her sports bra bulled up and you get to see, well, you know.
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Jackie Chan Presents: Wushu
Ten years ago, five students joined a martial arts school and learned the disciplines of Wushu and the bonds of friendship. Today, both will be put to the test after they and a former student stumble into a child kidnapping ring.
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Two sisters find their already strained relationship challenged as a mysterious new planet threatens to collide into the Earth.
My Son, My Son, What Have Ye Done
The first collaboration between legendary filmmakers David Lynch and Werner Herzog, My Son, My Son, What Have Ye Done is loosely based on the mysterious true crime story of a young stage actor who, obsessed with a Greek tragedy hes rehearsing, slays his own mother with a sword. Academy Award-Nominees Michael Shannon, Chlo Sevigny, and Willem Dafoe headline this psychological thriller written and directed by Herzog, produced by Lynch, and featuring Grace Zabriskie, Udo Kier, and Brad Dourif.
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