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September 20th, 2008 by reviewsofmovies

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Admittedly, after not being terribly impressed with the latest crop of 3D animated features, especially the ones that contain characters that are a motley crew of cute animals with distinct personalities, my expectations for Over the Hedge were that it would be just another forgettable, derivative film that only a young child could truly enjoy.  I’m happy to say that isn’t, and what’s more, some parents might even come away liking it more than their kids due to many in-jokes aimed at the older members of the audience.  Granted, it takes more than in-jokes to keep adults entertained, but in Over the Hedge these jokes actually turn out to be consistently funny, which about sums up why this latest entry into the new dominant genre of family film is successful — it is surprisingly smart and witty.

The film is based on the popular syndicated comic strip of the same name, which featured a raccoon named RJ and turtle named Verne having to face the harsh realities of life when their natural habitat is being taken over by humans dwelling in newly developed property which we all know commonly as the suburbs.  The film differs a bit in origin and execution, with RJ the raccoon (voiced by Bruce Willis, 16 Blocks) going into the human community in order to restore the wealth of food he stole and lost from a hungry bear named Vincent (Nolte, Hotel Rwanda).  On his way to the big score, RJ befriends a group of animals in the wooded area outside of the housing development, and together, they all conspire to find ways of getting their favorite foods from the homes and gardens of the people that have invaded their homeland.  Meanwhile, Gladys Sharp (Janney, "The West Wing"), the president of the local homeowners association has decided to eradicate the woodland creatures invading their homes, hiring a "Verminator" named Dwayne (Church, Sideways) to handle all the ugly business of wiping them out for good.

Excellent animation, superb voice work, and well developed characterizations bolster this family film outing into one of the more attractive releases of its type this year.  However, what really sets the film apart is the amount of good humor within.  While other films of this type are content merely to be cute, or go for toilet humor, for most of the laughs, the screenwriters behind Over the Hedge actually give their characters funny things to do and say, putting the film a cut above the others of its ilk in an earnest delivery of well-executed entertainment.

If there is a downside to the film, it’s that such a wealth of talent has been amassed in order to make a very good example of a conventional 3D animated feature, rather than try a new, never-before-seen approach.  I suppose the high budget of these kinds of movies is inhibitive on the ability to be truly daring, and I suppose it’s difficult to complain too much, given the fact that similar 3D features like Madagascar, The Wild, and Chicken Little fell quite short of the mark in terms of providing entertainment for the whole family and choice bits of laughter.  At only 83 minutes, it doesn’t overstay its welcome, making this a fast, funny, and sometimes even socially aware form of family entertainment, refreshingly adept despite its outward similarities to nearly every other 3D feature to have come out in the last year or two.

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downloaded Resident Evil: Apocalypse movie

September 19th, 2008 by reviewsofmovies

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The Movies:

Although they’ve seen fine releases on DVD before, Sony has opted to re-release the first two films in the Resident Evil series just in time for the third film’s theatrical debut. The two films are contained on the first disc, and all of the supplements (save for one but more on that later) are on the second disc.

Resident Evil:

In a small town named Raccoon City, the Umbrella Corporation holds its headquarters. The largest supplier of surgical and defense technologies in the world, Umbrella holds immense power and has access to all sorts of things that they probably shouldn’t be messing with. Their less conventional projects have been squirreled away in a secret facility way underground, codenamed ‘The Hive.’ When a biological experiment known only as the ‘T Virus’ is accidentally unleashed in the facility, a few hours later things are starting to look rather grim for the scientists and researchers trapped in ‘The Hive.’

The Umbrella Corporation sends in a crack team of military commandos to go into ‘The Hive’ and rescue any survivors they can find, but the only one left is Alice (Milla Jovavich), who’s been trying to sort out her amnesia problem while all of this has been going down. Everyone and everything else that was in ‘The Hive’ when the ‘T Virus’ hit is now a flesh eating zombie… and the virus is contagious.

Director Paul W. S. Anderson (Event Horizon and Aliens Vs. Predator took a whole lot of flack from the horror community when this movie hit theaters. A lot of people were disappointed not only because the movie isn’t a literal adaptation of the source material (the popular series of video games of the same name), but also because it seemed that the film was tailor made for George Romero to helm. Anderson didn’t deliver a Romero movie, and that seems to be what a lot of us wanted out of the film. It makes sense too, when you think about it. After all, what was the most obvious influence on the Resident Evil games? The answer is obviously ‘Romero’s dead trilogy.’ Anderson’s film is more of an action-horror hybrid than a character driven Romero-esque piece.

The movie is full of stereotypes (Michelle Rodriguez is sorely underused and not given much to work with, despite the fact that she is quite a competent actress), and is definitely a gross example of style over substance but it still works - at least on an entertainment level. Whereas Romero’s zombie films all had some sort of social commentary (be it the anti racism tones of Night Of The Living Dead or the commentary on crass American consumerism in Dawn Of The Dead) and there’s none of that here at all. This is an action-horror video game adaptation that doesn’t aspire to be anything more than a gory shoot’em up with hot chicks in the lead and a fast paced techno metal soundtrack. But hey, it moves along at a nice pace, provides a few good jump scares, and looks just as slick as slick can be.

So sure, the movie could have been a lot more than it was. There could have been a lot more character development and the competent cast could have been given better dialogue and a meatier story to work with, but that didn’t happen. Regardless, Resident Evil does entertain, and in the end that’s all we realistically should expect from it. On that level and that level alone, the film works just fine.

Resident Evil: Apocalypse

Alice’s voice over introduction fills us in on the events that took place in the first film, and then from there a few flashback scenes show us how chaos eventually erupted throughout Raccoon City. With the Umbrella Corporation’s control over the city as tight as a vice grip, all of the exit points leading out are blocked off by their soldiers, inspecting each individual to make sure that they’re not carrying anything contagious out of the city. Eventually, however, the zombies begin to overtake the city and the Umbrella Corporation decides to wall off the bridge and to more or less sacrifice the survivors left inside.

With the stage set, we meet the central characters - a street hustler named LJ (Mike Epps), a reporter named Terri (Sandrine Holt), and a few STARS team members like Nicholai (Zach Ward), Carlos (Oded Feher), and Jill Valentine (Sienna Guillory). They meet up by chance and decide to team up and try to find a way to survive amongst the hordes of zombies roaming the streets around them. While they’re finding themselves in increasingly dire straits, Alice (Milla Jovavich) is trying to figure out exactly what happened to her. She figures out that the Umbrella Corporation used her to perform experiments on and that she’s been given a rogue strain of the virus that, rather than turn her into a zombie, has enhanced her abilities and increased her strength and stamina. Of course, Alice meets up with the group of survivors and they all team up for the best chances of survival. What they don’t know is that the Umbrella Corporation has bio-engineered a creature called Nemesis who exists only to kill off all the surviving members of the STARS team and who is currently on the loose and looking for his prey. Their only chance is to find the young daughter (Sophie Vavasseur) of Dr. Charles Ashford (Jared Harris) who just may hold the missing piece of the puzzle that Alice and her team will need to lay this plague to rest. That is, if the Umbrella Corporation doesn’t bomb the bejeezus out of Raccoon City first.

With Anderson relegated to writing and producing the film, first time director Alexander Witt is given a change to give audiences his spin on the Resident Evil universe. That said, his take doesn’t differ much from Anderson’s and the second film in the series is, like its predecessor, a very slick looking action-horror movie with fantastic visuals and a mediocre plot. Milla looks stunning here, even more so than in the first picture, and she carries things nicely proving competent in both the action scenes and in the more dramatic moments. She’s been surrounded with a reasonably good supporting cast and the film benefits from decent acting courtesy of Feher and Ward - but the film feels shallow and at times almost pieced together, more a series of set pieces than a cohesive whole. We’re definitely entertained by violence, gore, sex appeal and zombies but nothing resonates for very long and the end result is a mindless, albeit fun, time killer.

The soundtrack, again comprised of cookie cutter new-metal tracks, adds nothing to the picture and doesn’t help build suspense at all and the cut-cut-cut editing style loses its novelty quickly. That said, there’s enough here to amuse us. Milla runs down a building and attacks her enemies, zombies eat and explode, and Nemesis looks pretty neat. A few well placed jump scares provide some cheap thrills and the ending is effective even if its obviously setting us up for the third film…

The DVD

Video:

Resident Evil and Resident Evil: Apocalypse get very solid transfers that are enhanced for anamorphic sets and retains the original aspect ratio of the films at 1.85.1 and 2.40.1 respectively. The image for both films is very crisp clean and only occasionally is there any minor specks of print damage. Skin tones look dead on, color definition is top notch, and this is overall a very nice presentation of the film. There is some minor edge enhancement and shimmering in a couple of scenes that is slightly noticeable but it doesn’t happen too often, thankfully. Some of the darker scenes show just a tiny bit of mpeg compression but aside from that there’s very little to complain about here, the movies look very good.

Sound:

Equally impressive are the sound mixes for the films. Dolby Digital 5.1 Surround Sound mixes are supplied in English and French. Optional subtitles are provided in English and French for the first film and in English only for the second with English closed captioning provided for both features. Both films benefit from very active and aggressive sound mixes that really do add quite a bit of atmosphere to the movies, especially during the action and zombie attack sequences. Surrounds are used nicely to fill in the soundscape and the subwoofer gives a few nice solid kicks to the proceedings, enhancing the nice jump scares during the films. Dialogue is never a problem and is always clearly comprehensible, and background music and sound effects are well balanced and mix nicely, never overshadowing what’s being said at any given point in time.

Extras:

Most of the extras from the prior releases of these two films on DVD have not been carried over and, surprisingly enough, much of the new extra content in this set is related not to the films it contains but to the (at the time of this writing) upcoming release of Resident Evil: Extinction starting with Exclusive Sneak Scene (2:06) from the film, which is the only extra on the first disc. Presented in non-anamorphic widescreen, this is a surprisingly gory clip in which Alice and a few other soldiers take on a horde of zombies out in the desert. Heads are blown open, throats are slit and there’s arterial spray galore, even if much of the effects work is CGI.

Disc two starts off with The Evolution Of Resident Evil: Bridge To Extinction (5:00) which is really little more than a recap of the events in the first two films by way of some nifty clips and Milla’s voice over work. What makes it worth watching are some clips from Extinction. While this is likely nothing we won’t see in the movie once it premieres, it’s an interesting look at where they’re going with the storyline. Twenty percent of the running time is made up by credits and this is really nothing more than an ad, but at least it’s a cool ad.

There are a few goodies in the Featurettes section starting with Diary Of An Apocalypse (27:47) which is a documentary that explores the making of the second film in the series by way of some interviews and a plethora of behind the scenes footage. Undead Bootcamp (11:47) is an interesting peek at how extras and principal actors are turned into zombies. We see them learn to shuffle and act like zombies and then we see some make up effects applied to add the finishing touches. The Stuntman Set Tour (5:49) shows how two scenes were handled - the street fight sequence and the helicopter jump. We see some raw test footage, some practice footage, and then we’re shown the final version as it appears in the movie for comparison’s sake. The Zombie Dogs POV test (1:35) is some raw footage from camera tests done to check out the speed and angle of the zombie dogs that were designed for use in the movie piggybacked on some finished footage from the film.

Rounding out the extra features are a Memory Retention Training Quiz, a series of still galleries (Art Department, Production Photos, Publicity, Set Design and Storyboards), trailers for a few other Sony DVD releases and for the upcoming Resident Evil: The Umbrella Chronicles game, animated menus and chapter stops.

Final Thoughts:

If you own previous releases of the two movies in this set, the extras aren’t enough to warrant a double-dip. That said, if you don’t have them and loud, mindless action-horror if your thing, you can consider this Resident Evil/Resident Evil: Apocalypse two disc collection recommended. The movies aren’t deep but they are a lot of fun and this release makes for an affordable and convenient way to catch up on the films before Extinction is unleashed.

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Blind Date movies buy

September 18th, 2008 by reviewsofmovies

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Blind Date (1987) Reviewed By Chris Parry Posted 08/28/03 15:30:21

"Misfires like an Uzi dipped in porridge." (Average)

As a dumb, stupid kid with absolutely no knowledge of what made a good movie different from a bad one (I paid to see Hot Dog - and loved it!), there was a time in my life when I could say, with a completely straight face, that Blind Date was the best movie I had ever seen. Seriously, I used to say those words to people. I even remember their confused faces when I’d do so, and having to say the words, "No, seriously." In fact, I was making that bold statement right up until I caught Ferris Bueller’s Day Off, some time around 1989. Then I saw Heathers soon after. Then I saw Clerks not long after that. With those films under my belt, nothing would be the same. Thus it dawned on me that Blind Date simply wasn’t up to standard, and I’ve never said anything nice about it since. But hey, if you never got out of the tenth grade, have some mild developmental retardation that causes you to stare at bright lights, and think Kim Bassinger is, like, totally hot, by all means knock yourself out. It’s not like you’ll have to reserve it at the video store…Walter (Bruce Willis) is a geek. A total business nerd, completely swept up in the mid-80’s drive to succeed and accumulate material wealth, he finds himself in a crunch. See, Walter is entertaining an important business associate from Japan in a few hours, and he doesn’t have a wife. Apparently this is important to his Japanese associate, so Walter’s brother Ted (Phil "how we miss you" Hartman) sets him up on a blind date with his wife’s cousin, Nadia (Kim "slept with Eminem" Bassinger), who is in town and looking to have fun. And, like, totally hot.There’s just one piece of advice given to Walter before he sets out on his adventure - "Don’t give her alcohol… She goes crazy when she drinks alcohol."Is it just me, or could you imagine Ashton Kutcher and Brittany Murphy remaking this story RIGHT NOW?So, of course, panicky Walter gives Nadia a glass of champagne and she soon turns into Linda Blair’s evil cousin, ruining his business meeting, breaking up the Japanese businessman’s marriage, insulting the occasional French waiter and generally being a total imitation of my father’s second wife. (Hi Pam, if you’re reading!) From here, all you need to know is there’s a ton of slapstick humor, a ton of non-humor humor, John Laroquette playing the jealous ex-boyfriend and the requisite rom-com ending. Oh, and Bassinger gets soaked in the swimming pool and she’s, like, totally hot. Blind Date’s real problem is that it simply fails to translate past the late 80’s. Director Blake Edwards must take a hefty portion of blame for the failures of the film, as he’s re-used a whole whack of set pieces that he’d actually done better, earlier, in movies that didn’t suck nearly as much. While the humor that does work in Blind Date is genuinely ‘oh my god’ funny (and some of it really is that good), for the most part it seems to be merely a star vehicle designed to get two TV stars on screen with a Bond Girl.Though she couldn’t act worth a darn, Bassinger is so 80’s in this film that she invokes giggles just from her appearance. I mean sure, she’s, like, totally hot, but she’s also hiding behind a mane of hair that was about as ‘in style’ a year later as that diagonal red hat she wore in My Stepmother is an Alien. You know the one I’m talking about… if you don’t, look it up.Blind Date starts with a one-line premise (man goes on blind date with terrible drunk) and does nothing more with that premise from there than reverse it (man on blind date gets drunk to show terrible drunk what she’s done to him) and cap it all with a stock standard ending (you may kiss the drunk). Which means it really relies on humor to convince an audience they haven’t been had. And that’s a bad thing when your jokes are old.Blind Date’s third act routine of slamming doors, pratfalls, changing rooms and ‘where did she go’ confusion is straight out of Edwards’ Victor/Victoria, not to mention any of the Marx Brothers’ better works. The ‘look what trouble you get into when you drink’ routine was done in Edwards’ Dudley Moore starmaker, 10. And the continuing battle with funny jokes, kinda funny jokes and really not very funny jokes will remind many of the director’s downward slide trying to squeeze every drop of soul out of the Pink Panther series.Blind Date is a simple concept played out in a most simple way, with seemingly little care about trying to do anything more than finish the thing. It pains me that people with concepts this weak sell them to movie studios every day for thousands of dollars, because really this is so far from art, it may as well be professional football. Every stereotype is played out in full (of course the Japanese businessman has a geisha for a wife), every joke is played out until it’s no longer funny, and any evil that bad guy John Laroquette is supposed to display is swallowed whole by his overwhelming teddy-bear-ness. Seriously, if Laroquette threatened me with a gun, I’d assume it was a Super-Soaker and come at him with the garden hose.Which is not to say Laroquette stinks here. Quite the opposite in fact, he’s the best thing about the film. If there’s one aspect of comedy that Laroquette knows, it’s how to sell a joke. And these jokes need some selling, I’ll tell ya.Oddly, Willis, who pretty much stunk up the joint, went on to become a multi-millionaire action hero, and Laroquette, who didn’t stink, went on to host basic cable TV programs about collecting stuffed animals, so who says talent doesn’t win out in the end?Blind Date is a funny movie - but only in parts. As a Sunday afternoon Superstation time waster, it’ll do the job every bit as well as an episode of Moonlighting or Night Court would, but any aims beyond that level are seriously misplaced. I may have once been able to call this movie "hilarious," but anyone in this current millenium who could say the same thing should be viewed with abject suspicion. Preferably from a distance. With a Super-Soaker handy.
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full length Cellular movie online

September 17th, 2008 by reviewsofmovies

Download Cellular

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Cellular

Very good movie. I thought it was going to be disappointing because of the PG13 rating but they managed to say ‘dickhead’ and ’shit’ a lot.

Kim Basinger was very good after a start that was kinda overacted by her I think. All the crying and screams seemed really real.

Chris Evans was better than I expected and now I’m even more excited about next year’s Fantastic Four. Also, loved that Eric Christian Olsen was there for a Not Another Teen Movie reunion. He didn’t have much to do though and let’s not talk about Jessica Biel who had just a few lines and that was it. Weird casting there.

William H. Macy’s character was very weird too. He had lots of comedic scenes and seemed like a sissy desk cop but then at the end he kicked that guys ass. Seemed unrealistic.

I don’t like Jason Statham, never liked him. He always plays these types of roles, even when he’s the good guy (The Transporter, The Italian Job). I actually believe he doesn’t know how to act at all, so he just looks for roles that want him to do the tough guy that looks mad all the time type. The scene when they took away Kim Basinger was really good. Didn’t expect them to enter that way.

So all in all it was a good movie. Nothing too serious (there was a lot of comedy) and a good ending with not many stupid decisions from the characters (*** SPOILER) The movie would’ve been MUCH better if it they made it Rated R though. (*** SPOILER)

One thing that was stupid IMO, the scene when Kim Basinger gets her son out of the shed by crushing the truck into it, well, she could’ve perfectly get the van instead of the truck. She didn’t know she was going to find the keys in there so it would’ve been a much better idea to get the van which already had her husband inside and she knew that.

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September 16th, 2008 by reviewsofmovies

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Movie: A lot of movie fans will go see any movie a particular star is in. This is an undisputable fact and is sometimes referred to as a star’s draw: how much money can a movie make based solely on an actor being in the movie? Even stars that often make great movies will sometimes take on a project for financial reasons, never having read the script. Such is the case with a little known movie from 1990, Loose Cannons.

The movie shows a veteran cop, Mac (Gene Hackman), who is saddled with a brilliant partner, Ellis (Dan Aykroyd), that has a personality disorder-whenever he gets stressed, he starts acting like various television characters. Other than that, he’s sharp as a tack but it obviously puts the team in great danger when they begin investigating a case with a lot of hostile bad guys. The team stumbles across a case involving a porn tape made by Hitler (yeah, that Hitler) and it’s political ramifications. The bad guys don’t want the tape released and will stop at nothing to prevent it from being distributed. If that sounds like a cliché, it’s because the movie is full of them.

Had the movie stuck with a more down to earth premise, and let Hackman be the center of the movie, it could’ve been much, much better. On the other hand, had it let Aykroyd have a more fleshed out character, or at least kept him focused on the few imitations he could pull off without looking like a drunk at a party, it “might” have been better. As it was, the movie seemed to suffer from the same multiple personality disorder that Aykroyd’s character did and the results were less than satisfying. Let’s face it, Hackman’s portrayal of Popeye Doyle in The French Connection movies were near definitive examples of a “tough cop” in movies. While he has the range to be something else, his character was obviously plucked out of that role to be put here in a fish out of water setting against Aykroyd’s zany misfit. Maybe if Jim Carrey or Robin Williams were in this role, it might’ve been better but that’s a stretch of the imagination too. Poor writing can be compensated for by great acting but that’s not usually the case.

The story being so bizarre certainly didn’t help matters much. Rather than look at the subject seriously, this being a comedy after all, it took the low road and fumbled there too. Hackman as a straight man didn’t work and it looked like the director figured this out ten minutes into the movie but wasn’t able to adjust accordingly. If he truly felt trapped by the suits pushing this movie to be completed, I could almost feel sorry for him. It wasn’t the worst movie I’ve seen in the last 13 years (it was originally released in 1990) but it sure didn’t make good use of the cast. As such, I can only fairly rate this one as a Skip It.

Picture: The picture was presented in 2.35:1 ratio anamorphic widescreen color. The fleshtones were generally accurate, as were the other colors, although there were plenty of moments where the focus was a bit off. I did notice a few compression artifacts but not many.

Sound: The sound was presented in Dolby Digital stereo and sounded pretty good, though not excellent. The channel separation was decent but not anything I’d push as a selling point for this flawed movie. There were lots of choices in subtitles and it was closed captioned as well.

Extras: trailers, paper insert with chapter listing

Final Thoughts: Well, the movie was a stinker and I think Tri-Star knows it too. On the dvd cover, it mentioned that the movie is “…loaded with personality.” Okay, is real life, when someone is setting you up with a blind date and they tell you that the person has a “nice personality”, what’s the first thing you think: “Wow, what a great opportunity to meet someone.” or “Oh great, another loser.”? Your answer will depend on how much you should see this movie. Even a fan of the leads will want to avoid this one.

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September 15th, 2008 by reviewsofmovies

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I was expecting something not-so-good, but I’m really enjoying it!
Despite
some of the other comments here, I think the darkness gives the show a
classier feel — let’s face it, the Tarzan concept could’ve come off very
cheesy. I honestly think it comes off as more a quality show than
something
like "Buffy," thought it’s not as witty (or intended to be). The camp is
matched by the thoughtfulness, and both Sarah Wayne Callies and Lucy
Lawless
are great!

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September 14th, 2008 by reviewsofmovies

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I’m always a little curious when it comes to what filmmakers choose as the title of their films.  Although some give a good indication of what they’re about, there are those movies that lack so much distinction, almost any title will do.  Such is the case with Along Came Polly, a film so unoriginal, that the only title that would probably have been accurately descriptive would have been Generic Ben Stiller comedy.  Without seeing a frame of film, you know Ben is going to be a likeable loser, unlucky in love, embarrassing himself to win a lady over, and subjected to the grossest mishaps at every step.  Those are the goods you expect, and those are the goods that are delivered, but at this point in Ben Stiller’s career, it sure would be nice to see him do more than rehash his previous movies again and again.

Stiller plays Reuben Feffer, working for a life insurance agency whose primary job is to address how much risky their clients are to insure.  He lives his own life with as little risk as possible, but the unforeseen happens on his honeymoon where his bride (Messing, "Will and Grace&quo ;) ends up having an affair with a French scuba instructor.  His life goes into a tailspin, but a chance meeting with a childhood friend, Polly (Aniston, "Friends"), gives him a new lease on love.  The trouble is, Polly is the exact opposite of Reuben, always taking risks and not wanting to become pat and predictable in any way, which makes Reuben very uneasy, as he tries to go along with her plans, even if they involve putting himself in situations he’d rather not be in.

Along Came Polly is written and directed by John Hamburg, who co-wrote the screenplays of two recent Ben Stiller hits, Meet the Parents and Zoolander.  While Stiller plays what he has always played, the tone that the comedy most evokes come from the outlandishly gross gags from his breakthrough slapstick flick, There’s Something About Mary.  The jokes alternate between Stiller going nuts while making weird faces and the grossest potty humor put into a PG-13 movie.  If I learned nothing else from the movie, it put a new word into my lexicon — "shart".

Although there are a few laugh-out-loud moments, the rest of the movie is pretty stale, with exceedingly weak recurring gags, like the blind ferret who continuously runs into objects headfirst.  The side-plot involving Bryan Brown (F/X) and his daredevil lifestyle is boring, and unfortunately, a good deal of time is spent exploring it.  What’s left are the romantic spurts between Reuben and Polly, but even then, they don’t really seem like a good fit for each other, perhaps because Stiller and Aniston themselves don’t have any chemistry between them.

Along Came Polly is really only for hardcore Ben Stiller fans, and for people who laugh at anything remotely scatological in nature. Too gross to be an effective romance and not nearly witty enough to recommend as a comedy, it’s a throwaway rom-com for people who watch them all.  Ironically, for a film about taking more risks, it seems that Stiller would be wise to take a few pointers, and try to break himself out of the mold of the exceptional redundancy in his choice of material.

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download Honey dvd online

September 13th, 2008 by reviewsofmovies

Download Honey

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The Honey Pot (1967)

May 23, 1967

Screen: ‘The Honey Pot’ at 2 Theaters:Rex Harrison Vehicle at Trans-Lux Houses

Published: May 23, 1967

JOSEPH L. MANKIEWICZ is playing an elegant and intricate joke on the audience as well as on the characters that he has assembled to attend the pseudo-death-bed performance of the hero of his film, “The Honey Pot.”

He is genteelly prefacing this fable of a morbidly humorous scamp who invites three former mistresses to his palazzo in Venice to watch him die, with a cute little prologue suggesting that his drama is based on or inspired by Ben Jonson’s comedy, “Volpone,” a classic of the Elizabethan stage.

Furthermore, he is supporting this impression by having his hero note that his name, Mr. Fox, is Volpone in Italian, and that there are other equal parallels of nomenclature in his household and that of the Jonson play. Likewise there are similarities of motivation and plot that would seem to impart to the picture an elegance and wit comparable to that of the famous ridiculing of avarice from which it is presumably derived.

So let’s not toss a wet blanket on Mr. Mankiewicz’s harmless conceit. If he wants to con us into thinking that “The Honey Pot” is based on Jonson’s Venetian satire, we can tolerantly go along with it and patiently perceive Rex Harrison as a modern replication of Volpone.

But let’s not permit this allowance to deceive us into a belief that Mr. Mankiewicz has consequently created a comparable classic of the screen. While he has put together in this picture, which opened yesterday at the Trans-Lux East and the newly refurbished Broadway Trans-Lux, now called the Trans-Lux West, a sleek and saucy simulation of contemporary high comedy, it is actually more glib than sententious, more artifice than art.

In his memorable, smoothly polished fashion, Mr. Mankiewicz sets his stage for a fox-and-chickens confrontation that would seem to have infinite scope. His beautifully rich and urbane hero takes into his employ a clever and wary actor whom he needs to assist him in an “intricate joke”—the joke being to bring together three of his former mistresses on the pretext that he is dying, and the implication that he may name one of them as his heir. The interest of the hero is presumably to see how the women will react to this terminal prospect and what their feelings are for him.

With Cliff Robertson as the actor who is recruited for this cynical deceit, and with Susan Hayward, Edie Adams and the saturnine Capucine as the three disparate companions of the hero’s apparently checkered past, Mr. Mankiewicz manages some delightful and hopeful introductory ploys, in which the agile Mr. Harrison is at his mischievous best. His pretenses of fragility and their pretenses of concern combine to make up some thoroughly entertaining crossruffs of hypocrisy.

Accompanying Miss Hayward, however, is a quizzical companion and nurse, whose interest and curiosity become focal in the working of the plot. And in the pursuit of her intrusion, Mr. Mankiewicz both helps and hurts the overall attraction and development of his film. For what he gains by the dexterity and subtle caginess of Maggie Smith as this inquisitive observer, he loses in his too strong emphasis upon her involvement and persistence in probing what’s going on.

There is a murder—I don’t think I should tell you who gets killed—and a courteous investigation by a comic Italian cop, played by Adolfo Celi in a noble and amiable style. But in this investigation, Mr. Mankiewicz takes so much time hashing over the possibilities, analyzing the clues and reaching astonishing conclusions that the viewer is likely to have reached 15 or 20 minutes before they are revealed, that the going becomes somewhat laborious and the film loses its hoped-for philosophical sting. What might have been a brisk and brazen satire forms into a prolix and slow comedy mystery.

However, Mr. Mankiewicz has made it with consummate style. His Venetian setting is excellent for the wicked business at hand, beautiful and ominous in color, and the performances are superb, even though it is difficult to fathom who and what these people are, Mr. Harrison has one genuinely charming and touching scene with Miss Smith toward the end, and the concluding twist is a cutie. And John Addison has contributed a dandy musical score.

So, for all the slow and murky stretches, you should be adequately entertained by this film, which has a title that is meaningless so far as I am concerned.


The Cast

THE HONEY POT, written for the screen and directed by Joseph L. Mankiewicz; produced by Famous Artists Productions; presented by Charles K. Feldman and released through United Artists. At the Trans-Lux West Theater (formerly the Broadway Trans-Lux Theater) at Broadway and 49th Street, and the Trans-Lux East Theater, Third Avenue and 58th Street. Running time: 131 minutes.

Cecil Fox . . . . . Rex Harrison

Mrs. Sheridan . . . . . Susan Hayward

William McFly . . . . . Ciff Robertson

Princess Dominique . . . . . Capucine

Merle McGill . . . . . Edie Adams

Sarah Watkins . . . . . Maggie Smith

Inspector Rizzi . . . . . Adolfo Celi

Massimo . . . . . Luigi Scavran

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watch Core, The video online

September 11th, 2008 by reviewsofmovies

Download Core, The

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Core, The
Jon Amiel is a well known and respected director known for his work
with actors, so it may come as a bit of a surprise that he wanted to
tackle a project like this. And he does say in the 'featurettes' that
he wanted this to be a character driven narrative. And if you check the
deleted scenes you'll see there was in fact enough material to make it
so.

But something happened in the cutting room. The scenes that added depth
to the characters were cut, leaving only the vestiges of a run of the
mill catastrophe science fiction movie.

And it's wonderful the special effects people are proud of the work
they've done but as viewers we're not interested so much in that as we
want to have something pleasurable to watch.

And that's where this turkey fails.

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September 10th, 2008 by reviewsofmovies

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Great Raid, The Reviewed By brianorndorf Posted 08/12/05 13:48:05

"As thrilling as an 8th grade history class" (Average)

Held in the Miramax vaults for a long time now, “The Great Raid” finally gets a chance to breathe, but the final product wasn’t worth the wait. A dull, monotone take on WWII patriotism and heroics, this John Dahl-directed war film is burdened with an unproven cast and a script that doesn’t have any fire in its belly.Near the bitter end of World War II, American POWs stuck in the notorious Cabanatuan prison camp in the Philippines are facing their darkest hour. After years of malnutrition and the absence of rescue attempts, the prisoners (including Joseph Fiennes and Marton Csokas) are losing faith, and the Japanese military is planning their extermination. Hope is found in a regiment of soldiers, led by Lt. Colonel Mucci (Benjamin Bratt) and Captain Prince (James Franco), as they struggle to cross deadly Japanese territory in an effort to rescue the POWs and bring them home. Filmed over three years ago, “The Great Raid” finally makes it to theaters after a long, unexplained delay. Yet, in those three years, nobody in the production looked to change one little detail: “Raid” is one dull motion picture.Ever since Steven Spielberg landed a patriotic hit with 1998’s “Saving Private Ryan,” Hollywood has been rabid for inspirational WWII stories. “Great Raid” is noteworthy for the small corner of history it tries to recreate. Armed with his biggest budget to date, director John Dahl (“Rounders,” “The Last Seduction”) gets a lot of production value out of this intimate war story, recreating a tumultuous period of history with gorgeous production design and handsome locations. It’s just a shame that Dahl couldn’t rile up the screenplay more. “Raid” is a story split three ways: the journey of the would-be rescue party, the POWs’ loss of faith, and the tale of Margaret Utinsky (Connie Nielsen), who risked her life smuggling medicine into the camp for her lover. Most of these plot thread involve a lot of conversations setting up the grand finale. Trouble is, the conversations and resulting drama do not grip the spirit as much as they intend to. “Raid” aspires to dreamy, one-dimensional patriotism, complete with evil moustache-twirling Japanese soldiers. Other directors have made this work, but Dahl is tripped by the enterprise, and his film limps to the finish line.His miscast performers, who attempt to convey all-American soldier earnestness and brawn but end up looking blank, don’t do enough to help the director’s vision. While James Franco, Benjamin Bratt, and Joseph Fiennes venture to define themselves as individuals in the midst of this historical production, their performances seem off-key. This is especially true of Franco, who has the difficult role of the man-behind-the-raid. The end credits reveal actual newsreel footage of Prince, and he looks hard and creased, everything Franco isn’t. And if I had a nickel for every time Fiennes gave a longing performance, I would be a rich man. Somebody give this guy a bastard role right away. In a smaller, forgotten role, Connie Nielsen registers well as the smuggler Margaret, but her section of the film is the only one with a pulse, which might account for how well she comes off. Once the much-anticipated raid begins, Dahl surprises with his ferocity portraying wartime combat. The action in the last 30 minutes is intense and invigorating, clearly demonstrating that if the majority of the production focused on the fireworks rather than the drama, “Raid” would be a corker of a war film. The intensity of the battles manages to bring back the awe and urgency of this tale, which would have done wonders for the rest of the picture.“Great Raid” shines a light on an important, little-told tale of WWII combat, but the history deserves less drowsy reverence and more wartime enthusiasm.
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