“The Hurt Locker,” directed by Kathryn Bigelow from a script by Mark Boal, is the best nondocumentary American feature made yet about the war in Iraq. This may sound like faint praise and also like a commercial death sentence, since movies about that war have not exactly galvanized audiences or risen to the level of art. The squad of well-meaning topical dramas that trudged across the screens in the fall of 2007 were at once hysterical and noncommittal, registering an anxious, high-minded ambivalence that was neither illuminating nor especially entertaining. And the public, perhaps sufficiently enervated and confused by reality, was not eager to see it recreated on screen.

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Spaghetti, spinach and French fries, all smothered in cream sauce: the menu at Soul Kitchen, a decrepit restaurant in a converted warehouse in an industrial section of Hamburg, Germany, may not be to everyone’s palate. But the place attracts a scraggly following of regulars who exit in a huff after its manager, Zinos Kazantsakis (Adam Bousdoukos), hires Shayn (Birol Ünel), a snooty culinary prima donna, as its new chef.

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Expecting a quality film from Martin Scorsese is like expecting to get wet in the rain. It’s the anticipation of the inevitable with the director who has given us so many excellent cinematic experiences, and you wouldn’t be foolish to expect quality here again with Shutter Island. While not Hitchcock, Scorsese has successfully channeled much of the master’s suspense in order to create a faithful adaptation of Dennis Lehane’s dark novel.

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The delicate planning scenario (The Great Train Robbery, Rififi), the humorous spin (Small Time Crooks, Quick Change), the hidden master plan (Inside Man, The Lookout), the crew of hardened professionals (Ronin, Heat), the sexy, over-the-top robbery (Oceans 12, The Italian Job), and the aftermath (Reservoir Dogs); these are the six core orbits almost all heist films fall into. If one were to draw a Venn diagram depicting the overlap between the six circles, Nimrod Antal's Armored would land almost exclusively in the aftermath category. There's no planning involved, no comic relief, no last minute twist, no grandiose kidnapping, no inkling of men with enough skill to count how many exits there are from any room they're in.

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Babylon A.D. is Vin Diesel’s entire career in microcosm. He starts out as a gritty, amoral, selfish murderer a la Pitch Black, gets in a few car chases, pulls off some X-Games stunts, attempts some dramatic stuff which never really works, gets all sci-fi with confusing futuristic plot exposition, and by the end he’s morphed into The Pacifier, a glorified babysitter who has given up his guns for polo shirts and awkwardness with kids. As with every recent Vin Diesel project, when the credits roll, you’ll kick yourself for having been suckered into watching yet another one of his crummy movies.




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Even most die hard Star Wars Apologists (of which I am one) admit to one degree or another that the latest set of Star Wars movies (The Phantom Menace, Attack of the Clones and Revenge of the Sith) were a mild disappointment at best and a complete raping of our childhoods at worst. The name Jar Jar Binks will go down in cinematic history as perhaps the most hated and despised character ever to hit the silver screen and George Lucas saw his almost religious like following of worshipers who saw him as a cinematic deity lose their faith almost overnight like Dorothy pulling back the curtain to reveal the true identity of the Wizard of Oz.

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Something is stalking the waters off of…um, wherever this movie takes place, plucking fisherman right off their boats and dragging them beneath the waves, never to be seen again. Skipper Will McKenna, short on cash, but long on hair, knows that something fishy is going on, especially upon finding congealed pools of green slime all over his deck after the latest crew member goes missing. Pretty blond scientist Arden identifies the goop as venom, used by certain fish to paralyze their prey so they can feast at their leisure. With a reluctant assist from the town drunk and Will’s sheriff brother, a search party heads out to find the beast.

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There were those who called him Icarus. Everyone else knew him as a divorced father working for an investment company. But they didn't know his other side-his dark side. Because Icarus was at his best when he was killing people.

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A retired CIA-agent named James Dial (Wesley Snipes) is living his life in seclusion on his ranch in Montana when he is offered the chance to redeem himself by his former employer, Jeremy Collins (Ralph Brown). A few years ago, Dial was seconds away from taking down notorious terrorist cell leader Ali Mahmud Jahar (Nikolai Sotirov) when a distraction allowed Jahar to escape, marking the mission as a failure. Now, Collins wants Dial to eliminate Jahar, who has been captured and is now in the custody of the police in London, England.



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After a serial killer named Red John murdered Patrick Janes wife and daughter, Jane dedicated his life to hunting down and killing Red John. To that end he gave up his lucrative pretense of being a psychic and joined the California Bureau of Investigation (CBI) as a consultant to the team responsible for investigating the Red John case, led by Senior Agent Teresa Lisbon. Using Janes exceptional gift for observation and his mentalist tricks, the team is able to close an unprecedented number of cases, but Janes unconventional and often outright illegal methods also bring much censure down on Lisbons head, making his assistance both a blessing and a curse. Meanwhile, the hunt for Red John continues...

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In the city of Los Angeles, millions of lives intersect everyday, but each individual is still isolated from the whole. A number of strange incidents occur to four men and four women, just as their own lives begin to spiral out of control. Surrounded by con artists, frauds, drug addicts, and homeless people, a story starts to form in a screenwriters head. Little does he know, his characters seem to have come to life as well. Things takes a surprise turn, as these LA residents find themselves locked into a mystery together. While relating to quantum mechanics, our own spiral galaxy, and the struggle of human existence, an urban love story grows out of the vine of disconnection.

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Maya is a quick-witted young woman who comes over the Mexican border without papers and makes her way to the LA home of her older sister Rosa. Rosa gets Maya a job as a janitor a non-union janitorial service has the contract, the foul-mouthed supervisor can fire workers on a whim, and the service-workers union has assigned organizer Sam Shapiro to bring its justice for janitors campaign to the building. Sam finds Maya a willing listener, shes also attracted to him. Rosa resists, she has an ailing husband to consider. The workers try for public support management intimidates workers to divide and conquer. Rosa and Maya as well as workers and management may be set to collide.

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