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Never Let Me Go
The limits of beauty or, more rightly, the uses of visual beauty are revealed in the adaptation of Kazuo Ishiguro’s highly regarded dystopian novel “Never Let Me Go.” Directed by Mark Romanek, this coming-of-age story involves three British friends who are raised with others of their kind in a group home that proves more Orwellian than Dickensian. In time, they timidly make their way into the world, which turns out to be crueler than most of us would, I suspect, like to believe. Though here cruelty is done so prettily and with such caution that the sting remains light, giving the entire enterprise the aspect of a tasteful shocker.
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Monsters vs. Aliens
"Monsters vs. Aliens" is possibly the most commercial title of the year. How can you resist such a premise, especially if it's in 3-D animation? Very readily, in my case. I will say this first and get it out of the way: 3-D is a distraction and an annoyance. Younger moviegoers may think they like it because they've been told to, and picture quality is usually far from their minds. But for anyone who would just like to be left alone to see the darned thing, like me, it's a constant nudge in the ribs saying never mind the story, just see how neat I look.
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After "hooking up" with a series of guys at a house party, April is the talk of her high school. Her best friend Michelle, envious of all of April's attention, decides to try and follow in her footsteps and become more sexually forward.
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Yeti: Curse of the Snow Demon
After their plane crashes into uncharted territory in the snowy Himalayan Mountains, the surviving members of a college football team led by quarterback Peyton Marino set out to find help in a freezing cold blizzard.
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With La dolce vita in 1960, Federico Fellini created a new kind of personal fantastical movie to deal with the corrupt, newly affluent Italy. It replaced the neorealism that had dominated Italian cinema for 15 years. Three years later, in the even more phantasmagoric, semi-autobiographical Otto e mezzo (aka 8½), Marcello Mastroianni, who'd become Fellini's alter ego in La dolce vita, played Guido Anselmi, a director at the end of his tether while in pre-production on his latest expensive movie at Rome's Cinecittà.He has magnificent sets and costumes, but no script, and as he's badgered by producers, wives, mistresses, journalists and assorted hangers-on, he fantasises about his life and loves and revisits his past.
Eric Roberts' character heads a bio genetics lab that has successfully crossed the DNA of a shark and an octopus, creating the genetic hybrid... wait for it... SHARKTOPUS!!! This project, S 11, has been funded by the military and when the film opens they are running S 11 through its final testing stage. Everyone is a little over ambitious about proving the project is successful and they lose control of the creature. It then begins a murderous descent along the Pacific coast into the resort areas of Mexico and starts picking off tourists. Because it can.
You gotta wonder about film distributors sometimes. Did the people who are releasing CHAIN LETTER, which has been bounced out of two previous release dates and landed on the same day as the highly publicized debut of HATCHET II, really think there was room in the marketplace for two movies about hulking killers bloodily dispatching hapless victims?
Given that electronic communication devices are the source of CHAIN LETTER’s negligible terror, perhaps they were attempting a tie-in with David Fincher’s birth-of-Facebook drama THE SOCIAL NETWORK. Certainly director/co-writer Deon Taylor’s visual style is marked by sub-Fincher gloom, with lots of rain and dimly lit interiors. But its cautionary point of view on the dangers of our information age was dated when CHAIN LETTER was shot nearly three years ago and is even more so now, not to mention completely muddled.
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Benjamin Heisenberg’s The Robber, a muted character study based on Austria’s most prolific bank robber, resides somewhere on the fringes of the heist genre, both in terms of its abstract themes and coldly restrained style. The film is adapted from Martin Prinz’s novel of the same name about real-life long distance runner and criminal Johann Kastenberger, who tormented police with his daring robberies in the 1980’s. Heist films come in all shapes and sizes, dimensions and demeanors. The great examples, whether it’s the serpentine structure of Stanley Kubrick’s The Killing or the epically cool landscape of Michael Mann’s Heat, keep characters on the razor’s edge of perception. It’s not just about the heist, but the devilish details of the individual downfall.
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City of Rott
The story begins after the Earth's water supply has been infected by a strange parasite known as Rot Worms. Rot Worm eggs were delivered by rain, and there's no place on the planet that is free from the Rot Worms. Once hatched, they begin feasting on human flesh, turning their hosts into mindless zombies.
The film revolves around Fred, an elderly man with a walker, which he uses as a weapon, and searching for a pair of new shoes. Fred appears to be losing his mind, he believes his walker speaks to him and he constantly sees hallucinations.
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Chris Vaughn (Dwayne Johnson), a former U.S. Army Special Forces sergeant, returns to his small home town in Washington State to find some work at the cedar mill, but he finds that it closed down three years ago. Now, there is a new casino in town, owned by his old school friend, Jay Hamilton (Neal McDonough), who is taking liberties because of the chaotic economic situation. With the mill closed down, the casino is the main source of income for the town. Vaughn decides to check out the casino, and sees the craps dealer use loaded dice. When Vaughn gets violent, the security guards subdue him, then carve his abdomen and leave him for dead, but he is found and hospitalized, and eventually recovers. Vaughn goes to the Sheriff (Michael Bowen) to place charges on the guards, but the Sheriff refuses to allow Vaughn to press charges because the casino is viewed as too important to the town's economy. After Vaughn also finds out that his nephew, Pete (Khleo Thomas), experimented with crystal meth, which was sold to his friends by a casino security guard. Vaughn goes to the casino, and using a piece of lumber as a club, he beats the security guards, and makes his point to Jay Hamilton that he will not tolerate the crime in his town anymore. Vaughn is eventually caught by the Sheriff and his deputies when he is trying to drive home.
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Larry McCoy (Larry the Cable Guy), Bill Little (Bill Engvall), and Everett (DJ Qualls) are members of the National Guard. Larry is under a wave of bad luck after his girlfriend Karen reaveals that she is pregnant but its not his baby and he loses his job. Bill is having a hard time with wife Connie and Everett after getting fired from being a police officer lives in a storage locker as a security guard. Bill shows Larry how to get over his grief of Karen by shooting the gifts that he got Karen. Meanwhile An Army Colonel gets a request for more troops for Fallujah, and sends Sgt. Kilgore (Keith David) to assess the situation at the local reserve base, where he finds Bill, Larry, and Everett. He puts them through a training regimen and sends them to Fallujah. They are taken to a plane where they fall asleep in a Humvee, with Kilgore snagged on to the Humvee, which falls out when the plane experiences turbulence.
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Vampires: Los Muertos
In Mexico, a freelance vampire slayer, Derek Bliss (Jon Bon Jovi), is hired by an unknown client provided he build a team of slayers. Father Adam Guiteau (played by Tim Guinee in the first film) is shown to have been killed in this one. This team ends up including the vampiress Zoe, who is fighting her affliction with medication, Father Rodrigo, a helper who pretends to be a priest, and Sancho, a brave fourteen year old boy who aids Derek in killing some vampires at the beginning of the movie, in finding a large nest of "suckers" and their powerful leader, a vampire princess named Una (Arly Jover). She is seeking a legendary black crucifix: the Berziers Cross, the same crucifix used unsuccessfully in the first movie to perform a ritual which will enable vampires to walk in sunlight and be invulnerable.
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Robert Miller (Toby Kebbell), a veteran soldier, is returning from the war in Afghanistan to his home in a violent decaying South London council housing estate, overrun by gun-toting youth gangs. The gangs are led by a drug lord gangster (Ashley Thomas), who is interested in Miller working for him. His job offer is rejected.
Through an ex-army mate (Tom Brooke), Miller finds work in undercover surveillance. He is soon recruited by a couple of shady government operatives (Tony Curran and Brian Cox) for an undercover operation to keep tabs on a network of suspected terrorist cells. Embedded in the terrorist group is a Lebanese-born British citizen informant (Adi Bielski).
Miller soon discovers that the security forces and the intelligence services are not quite what they seem. He uncovers a conspiracy. The group of local gangsters is intrinsically tied to the suspected terrorist cell. Taking the situation into his own hands, Miller embarks on a brutal quest for justice, with devastating consequences.
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