â€œQuarantineâ€ is a tedious, predictable, sad excuse for a horror film made for the Hot Topic generation. Itâ€™s a shame that hollow, empty remakes like this, based solely on gimmick over story, flourish in todayâ€™s horror market while films like Mike Doughertyâ€™s â€œTrick â€˜r Treatâ€ struggle to find distribution from big studios who would rather push 34 â€œSawâ€ sequels down our throats.
Thereâ€™s a good film in here somewhere â€“ in fact, the first hour or so was quite promising. Sometime after that, the idea was lost, and the filmmakers â€“ The Pang Brothers â€“ just decided to pad the rest of the film with an irritatingly long gun-fight that seemed to last about 20 mins or more. It near undid all their good work in the first half of the film â€“ including setting up a plausible love interest (a young deaf woman who works at a chemist) and also exploring the â€˜man with no nameâ€™sâ€™ relationship with his new student (who, on any other time, heâ€™d remain disattached). What starts out as intriguing ends up tediousâ€¦. And boring!
What English has done though is merely take the play and film it. Oh, she has had to expand on the locations â€“ but thatâ€™s about it. Everything else plays out like the original stage show. You almost expect to see the camera pan back and reveal an audience at parts â€“ or to hear a laugh or gasp from the audience â€“ it feels that unauthentic. Nobody films their dress rehearsal.
Even if English had filmed it the same way, but just injected some purpose into the script, let alone pulled back on the fluff-o-meter, it mightâ€™ve been tolerable. In itâ€™s current state, itâ€™s hardly even watchable.
It doesn’t make much sense for me, someone who has never watched – well not religiously – or appreciated the series, to be reviewing the highly-anticipated ”Sex and the City” movie…… or does it?
“Payne” looks very pretty for what it is – there’s some very nice FX work throughout the course of it (the best parts of which have already been shown to death in the trailers), but it just doesn’t have that sense of forward momentum that a flick like this really needs – and ultimately becomes something that would have been straight to the video shelf if not for the presence of Wahlberg
A truly terrifying film starring Liv Tyler and Scott Speedman. In the vein of John Larroquetteâ€™s iconic narration of â€œThe Texas Chainsaw Massacre,â€ â€œThe Strangersâ€ opens with a similar, unsettling advisory:
I really tried to like it, because I’ve never had anything against Seagal, but it just didn’t do anything for me. Hopefully Warner, who are apparently considering an “Under Siege 3″, don’t see this one – otherwise it’ll never happen.
Mendes could pull Ball back on “Beauty”, but on “Towelhead”, there’s nobody there to reign him in when the horndog gets the better of him – as a consequence we’re treated to such untasty sights as an older man’s fingers being treated to the crimson sauce as a result of journeying down a teenagers underwear, a young girl orgasming – several times throughout the movie – over a men’s magazine (given to her by the same man), and
By Clint Morris
â€œWhen will Sleeping Beauty be on DVD?â€ a good friend of mine asked a few years back.
Hell, I Read more…
The film may sound like a 70s roller-skating disco drama, but it’s anything but – it’s bad-to-the-bone and proud of it. It’ll turn your frown upside down and regurgitate your buoyancy in the British gangster pic (that were all the rage in the 90s before they became month-old-cheese-stale).
”Iron Man” doesn’t do much wrong – it’s got some great action sequences, some amazing special effects, is pretty loyal to the comic, and most of all, features an insanely terrific performance by Robert Downey Jr (he could be my favourite actor to wear a superhero costume – he’s that cool! Can’t imagine it would’ve had the same effect had original choice Tom Cruise taken on the role).
Once youâ€™ve experienced success as a filmmaker, itâ€™d be hard not to resist the temptation of merely cobbling something inferior together and selling it off to the highest bidder.
”Righteous Kill” – nothing Righteous about it. If you’re going to pay Robert De Niro and Al Pacino a shitload of cash to reunite for the screen – they did the sensational “Heat” together in 1996, and both appeared in “The Godfather Part II”, albeit not in any of the same scenes – you don’t coax them into a D-grade serial killer-thriller that’s devoid of any real characters, drive or plot. You just don’t. It’s a sin.
Directed by Tom Holland who has directed many horror films, the movie works not only as a fresh take on a genre that had grown somewhat stale, but as a tense thriller. While the films in the series that followed were often hit or miss, the first film stands out as a true genre classic.
It’s official – the Coen Brothers do not know how to end a movie. The start they get right, the middle they definitely can handle, but a film’s conclusion is where they trip up. Joel, Ethan… it might be time to buy a copy of James Bonnet’s ”Stealing Fire from the Gods”. Don’t be ashamed guys, we all lose our footing sometimes – even the greats have been known to stumble here and there.
It won’t crack your funny bone but it will certainly tickle it more then once. All in all I give it 3.5 out of 5. It succeeded in making me laugh and did keep me entertained. Above all, I’m sure many will find it enjoyable to some extent.
The film that put Tim Burton and Winona Ryder on the map, kicked off the Burton/Keaton collaboration that would continue to two Batman movies, confirmed Keaton as a comic actor on a par with Jim Carrey in his heyday, and gave us a thrilling new director in the vein of Terry Gilliam, just a bit more commercial.
It may be a bit lightweight in terms of its storyline â€“ even then, a lot has been added to the film that wasnâ€™t in the book â€“ but its lively voice-cast and cute array of characters more than makeâ€™s up for any thinness in yarn.
Mayor Jack Skellington stumbles across Christmastown and, so smitten with the idea, he returns home to try to get the carious beats, ghosts and monsters of Halloweentown to try a similar thing. The animation is great and worth seeing, but itâ€™s essentially a kids movie.
Despite the rather ho-hum script, there are some genuinely funny moments in the film – largely thanks to Cook, who has the ‘funny prick’ thing down – and a really wonderful supporting cast (Alec Baldwin’s a welcome addition as Cook’s equally promiscuous father). Howard Deutch’s film – remember him? He did “Pretty in Pink” way back when – also has quite the sweet side, in much the same way Biggsy’s “American Pie” movies did. Speaking of, Biggsy is quite good in this too – his â€˜eyebrows’ scene is a bit of a pisser.
â€œForgetting Sarah Marshallâ€ isnâ€™t quite of the caliber of â€œKnocked Upâ€, it might not even be as consistently funny or memorable as â€œSuperbadâ€, but itâ€™s still another win for Apatow Productions. Bring on the next, Judd!
I personally don’t think “Dark City” has changed one bit. It still plays like the same disadvantaged and slightly oddball cousin of “The Matrix” (Ironically, the latter used the left-over sets from the former to shape it’s cardboard city) it did in 1998.