As the film begins, Ryan has spent years putting his brutal past behind him—a different man now to the stone cold killer he was a lifetime ago. But when an old face from the past arrives on his doorstep, Ryan is called upon to repay a blood debt from years ago. But the price is too high. Betrayed, and with his life falling apart around him, Ryan goes on a murderous, bloody revenge spree against the Ten Men who took his life away from him.

When Captain Amazing (Kinnear) is kidnapped by Casanova Frankenstein (Rush) a group of superheroes combine together to create a plan. But these arent normal superheroes. They are individuals who are not good enough to be real superheroes. Now, the group who include such heroes as Mr. Furious (Stiller), The Shoveller (Macy) and The Blue Raja (Azaria) must put all the powers together to save everyone they know and love.

Whenever I think of a movie franchise “rebooting,” my first knee-jerk reaction is some incoherent—and often profane—gripe about Hollywood not having any original ideas, a reaction that is, ironically, not terribly unique. Actually thinking about the matter forces one to consider the Batman reboot, which went rather well, and the James Bond reboot, which went stunningly well (for the first movie, at least). Not a half-bad track record for the institution of the reboot. X-Men: First Class appears, from this quite cool trailer, to continue that trend nicely.

12 Men of Christmas: Drama. Starring Kristin Chenoweth, Josh Hopkins, 9 p.m. today. Lifetime cable channel, with encore broadcasts.

If you think about it, virtually every holiday movie ever made can trace its heritage back to the day 166 years ago when Charles Dickens got the green light for "A Christmas Carol." Whether it involves lost puppies, childhood yearning for BB guns, workaholics with no holiday spirit, orphans, star-crossed lovers or the search for the perfect tree, all plot threads eventually lead back to "God bless us, every one" - or some other acknowledgement that it's all about love and family.

In a flashback to "twenty years ago" Professor Charles Xavier and Magneto meet a young Jean Grey at her parents house before her powers are restricted.

Another flashback to "ten years ago" shows a young Angel as he tries to cut off his wings

Back in present time, the pharmaceutical company Worthington Labs announces it has developed an inoculation to suppress the X-gene that gives mutants their powers and makes them different from other humans, offering the "cure" to any mutant who wants it. While some mutants are interested in the cure, including the X-Men's Rogue, many others are horrified by the announcement. In response to the news, the X-Men's adversary Magneto raises an army, warning his followers that the "cure" will be forcefully used to exterminate the mutant race.

Where do I start with Road of No Return? To be honest I am very disappointed with this movie. The acting is bad, the story line could be so much better and I can't believe that I had the patience to watch Road of No Return from start to finish.

In his directorial debut Repo Men, Miguel Sapochnik is going for something unusual-- or at the very least, something only familiar in an offbeat, screwball kind of way. For while the movie takes place in your typical bleak future and has the standard caustic attitude toward the promise of a brave new world, Repo Men is funnier, bloodier and weirder than most post-apocalyptic tales.

This quote encompasses the primary message of the French film OF GODS AND MEN (Des Hommes et Des Dieux), written and directed by Xavier Beauvois (“The Young Lieutenant,” “According to Mathieu”).

Loosely based on a true story from the 1990s, we follow the lives of a group of French Christian monks living a harmonious, symbiotic existence with their Muslim brothers and sisters in the mountains of Algeria. The religiously motivated massacre of a group of foreign workers strikes fear throughout the region and leads each monk to question both his own reason for remaining there and his dedication to his faith, knowing that the stakes may well be their lives.

You can shoot two hours of guns, violence, sex and explosions, but if you don’t have a story to tell you might as well not bother. This stands doubly true for anything labeled “Based On A True Events” – if it’s not an interesting narrative who cares if it really happened. Fortunately, not only does George Gallo’s Middle Men have a true story to tell, but a completely insane one.

War. There are countless reasons for them to be waged and I don’t pretend to know a damn thing about any of them. What I do I understand, however, is along with war comes great sacrifice and loss. Fifty Dead Men Walking is a film set in Belfast during the late 80’s that works to capture the sacrifice of two men (one more so than the other) during the bloody fight between the Provisional Irish Republican Army (PIRA) and the occupying British Army.

Adapting Humphrey Cobb's novel to the screen, director Stanley Kubrick and his collaborators Calder Willingham and Jim Thompson set out to make a devastating anti-war statement, and they succeeded above and beyond the call of duty. In the third year of World War I, the erudite but morally bankrupt French general Broulard (Adolphe Menjou) orders his troops to seize the heavily fortified "Ant Hill" from the Germans. General Mireau (George MacReady) knows that this action will be suicidal, but he will sacrfice his men to enhance his own reputation.

During the heat of battle in the midst of the Civil War, a beguilingly innocent colt is born to Union Jim Rabbs beloved mare. Refusing the orders to shoot it, lest it prove a hindrance, Rabb keeps the colt as a consolation in these desperate times-a symbol of hope that leads the men of the First Cavalry on a journey of self-discovery and newfound brotherhood.

This particular The Bridge to Nowhere movie belongs to the Crime, Drama genre and it was created under the guidance of Blair Underwood and it features such stars as: Ving Rhames, Bijou Phillips, Danny Masterson. The IMDB rating 7 is the following.

I was just reading an article about the oddly prolonged adolescence of American males, especially those in the movies. There's a common fantasy where the guys get away from their wives and girlfriends, and escape to where they're free to guzzle beer, eat sloppily, belch, fart, leave pizza boxes on the floor, scratch their butts, watch sports on TV, and in many other ways become irresistible to hot chicks. When was the last time you saw a man under 30 in the movies who had a stable marriage, a job, children, and a life where he valued his wife above his buddies?

In Speed-Dating, three buddies engage in that very analog hookup practice in which singles are paired up according to assigned numbers and have a small amount of time to lure their potential mates into bed. Not that Too Cool (the very hot Wesley Jonathan), Dog (Chico Benymon), and Beaver (Leonard Robinson) are Luddites nostalgic for pre-Craigslist modes of cruising, or that straight folk get the sexual technology memo rather late in the game. The group of friends runs the speed-dating soiree as a scheme so that they can handpick the women allowed to participate and control who gets matched up with who.