John Carpenter and James Woods vigorously invest some life into the weary undead genre, whether it warrants it or not.
Writer-director Kevin Smith’s five-film New Jersey ‘trilogy’ culminates in a love letter to any fan who has paid attention to his films since 1994’s "Clerks."
As far as the title goes, this 80-minute version of the MTV phenomenon delivers an awful lot of the first word and precious little of the last in its presentation of assorted gross-out pranks and misguided stunts. Like the show, like the movie.
Stylemeister F. Gary Gray adds some zip to this remake of the 1969 Michael Caine caper flick, but despite two clever action sequences and some uncharacteristically tight performances from his cast (most notably Charlize Theron and Mark Wahlberg), the con remains the same.
Gaspar Noé’s chronologically reverse orgy of violence and misogyny wants nothing more than to shock and then pretend it was done in the name of art. It succeeds in the first part, for better or worse. Mostly worse.
Master Hong Kong choreographer Yuen Woo-Ping directs yet another story of the legendary Wong Fei-Hung. This time Fei-Hung is a child and his father runs afoul of a corrupt government in a town seemingly made of balsa wood. If you can look past the rampant wire-work and the typical overacting, there’s some good kung-fu going on.
Well-made but ultimately disappointing sci-fi tale based all too loosely on Issac Asimov’s pioneering ‘Robot’ novels finds Will Smith as the one cop technophobic enough to notice oddly blatant evidence of mischief among our mechanical creations.
If you love arthouse films, then this one is one you should definitely see. As for me, boring, boring, and uh, boring is how I would describe this film.
The subtle, moving examination of the effect on two New England parents of the tragic murder of their 21-year-old son features some of the finest performances of the year by Sissy Spacek and Tom Wilkinson.
This old fashioned political thriller is marred by a needlessly twisty plot and a miscast Nicole Kidman, but director Sydney Pollack still has the chops to pull it off.
