I don’t want this review to be a comparative piece, nor one that questions the merit of this film given that it is a remake of the Swedish film made just two years ago. Although one cannot dismiss the impact this factor will have on your viewing experience, either from an ethical point of view or simply as a means of entertainment.

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In the next five weeks, two of Edward Norton’s new films, Leaves of Grass and Stone, go straight to DVD in the U.K., following an incredibly restricted theatrical run and a massive box office underperformance in the U.S. respectively. While this certainly is not a good sign for any actor’s career, Leaves of Grass, which demands of Norton an impressive act of duality, certainly deserves better than a meager DVD treatment, especially with all the inferior tosh getting theatrical releases these days…

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A military squad accompanied by an military engineer captain are searching the desert of Afghanistan looking for working mines(the kind you dig, not step on). Running into a group of Taliban. During the battle some giant 60 foot long worms are awakened. Trying to escape with their lives the remaining members of the unit try to fix a(unsurprisingly) broken radio and contact base. Meanwhile Taliban fighters are themselves on the hunt for the American troops.

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Wim Wenders wants a 25th Hour to call his own, and for Land of Plenty he splices the story of a young girl recently arrived from Tel Aviv and her paranoiac uncle into a montage of music-video-styled American anomie. Once a purveyor of Germany's post-war existential mess, Wenders is now content wandering the American heartland with his iPod and camera-as-divining-rod, looking for a thematic purpose to anchor his groggy, music-infused aesthetic. Paris, Texas with a post-9/11 context, Land of Plenty is your typical Wenders doodle, except its meaning is now explicitly rubbed in our faces.

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Jessica Lange is one of the most inconsistent actresses working today. From time-to-time, she blows away audiences with powerful, intense performances. On the other hand, this is the same woman who made her jaw-droppingly awful feature debut in Dino DeLaurentiis' King Kong. And, much as Lange would probably prefer movie-goers to develop amnesia regarding that particular entry on her resume, every once in a while she does work that is reminiscent of it, if only in quality. Hush is one such example. Lange is so bad here that she might have been fun to watch if the rest of the film wasn't such a prime example of motion picture tedium.

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Even though I was mildly disappointed in Superbad, I’m still a tremendous fan of Seth Rogen and am pretty excited to find out what’s going to happen with his bourgeoning career as a writer. He co-wrote Superbad, and he’s also co-writer on an upcoming comedy called The Pineapple Express, which reunites him with his former ‘Freaks and Geeks’ co-star James Franco on screen. Everything I’ve heard about the movie so far sounds absolutely inspired, and now one of the site’s long time friends has just dropped me an incredibly early review of the film which seems to confirmed all the early buzz about just how genius this script is.

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A passion project can be a creation that lifts you or crushes you. As a moviegoing public, we thrive on those stories that hit just right – that find the core of human experience or understanding and inspire us to think: "Yes, this is it!" Though we yearn for those moments, they aren't always so easy to achieve. Just think of the work of men like Terry Gilliam and David Lynch – some stories make that connection while others fail. There isn't always a direct path between the director's vision and the viewer's visceral reaction, and one man's passion play can be another man's misfire.

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The original Street Kings was hardly a cinema masterpiece. Driven by hokey dialogue and generic thrills, the film was almost not worthy of the theatrical release it received. It wasn't an awful film or anything, just mercilessly dull and uninspired.

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For a good hour or so, After.Life really holds us in its grasp. The chilling basic concept provides ample opportunity for graveyard shudders and esoteric philosophizing alike, aided by a talented cast who devote themselves fully to the cause. Then, slowly, the mechanistic aspects of the plot screw it all up. It becomes more interested in toying with us than letting us participate as equals, whiplashing the audience from one supposition to the next without concern for the damage it inflicts in the process. Coupled with a would-be twist ending and a nasty sense of smugness, it sinks the formerly intriguing project hopelessly beneath the waves.

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Director Kevin “Witchboard” Tenney’s 1988 demonic horror outing “Night of the Demons” isn’t a movie I’m particularly fond of, so the idea of a contemporary remake didn’t ruffle my cinematic feathers whatsoever. The original isn’t a masterpiece by anyone’s definition of the term, though it’s hardly the worst genre effort produced during this decidedly prolific era in horror’s stories history. In fact, I consider the film’s 1994 direct-to-video sequel to be a superior film in every conceivable way. What can I say – I have horrible taste in movies. Feel free to throw rotten vegetables in my general direction.


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U.S. Marshall Pete Nesbitt and his brother, Terry also a marshall is escorting a computer criminal Earl Leedy when all of a sudden a highjacking on the plane they are on occurs. Now Leedy and Terry are sucked out of the plane when Pete discharges his weapon and a hole in the plane is made. Nesbitt is blamed for the whole thing and is suspended. Now Terrys dead and Leedy, whose body hasnt been found is believed to be. But what they dont know is that Leedy is now with some people who want to use his computer skills. Pete doesnt believe that Leedy is dead and that the whole thing was to spring Leedy. So he turns to Jess Crossman, a skydiver, for help on who may have done this whole thing.

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Set in a distant future where life in the universe and space travel is dependent upon a spice found only on the planet Dune, this film tracks the rise of young Paul Atreides, son of good Duke Lito, from the time of his fathers betrayal and murder by a rival lord, Baron Harkonnen, to his discovery of the great secret behind the planet Dune and his own destiny, which is to free the planet and its denizens of the cruel rule of the Emperor.

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Two college students share a ride home for the holidays. When they break down on a deserted stretch of road, theyre preyed upon by the ghosts of people who have died there.

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In rural Mississippi, Lazarus, a former blues musician who survives by truck farming, finds a young girl nearly beaten to death near his home. Shes the white-trash town tramp, molded by a life of sexual abuse at the hands of her father and verbal abuse from her mother, who seems to delight in reminding Rae of her mistake in not aborting her. Lazarus, who is also facing personal crisis at the dissolution of his marriage, nurses Rae back to health, providing her with gentle, fatherly advice as well as an education in blues music. Raes boyfriend, Ronnie, goaded by the man who nearly beat Rae to death, misunderstands the relationship between Lazarus and Rae, and vows to kill him. Lazarus, exhibiting a street-smart understanding of violence and its motives, calls Ronnies bluff, senses that he is as troubled as Rae, and becomes a guiding force in the young couples resurrection.

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