300

Based on the graphic novel by Frank Miller and Lynn Varley, 300 takes over the screen like an invading horde. With all the gushing blood of a horror movie and the scope of a classic epic, the second film from Zack Snyder (who helmed the 2004 remake of DAWN OF THE DEAD) is an impressive visual spectacle. Gerard Butler (THE PHANTOM OF THE OPERA) plays Leonidas, the king of ancient Sparta. The city is famous for its warrior philosophy, and Leonidas won’t kneel to the demands of Persia's King Xerxes (LOST's Rodrigo Santoro). Instead, Leonidas leads his 300-strong army against Xerxes's army of millions. Meanwhile, his wife (Lena Headley, THE BROTHERS GRIMM) campaigns in Sparta for the city to send reinforcements as she butts heads with the treacherous Theron (Dominic West, THE WIRE). With its gore and scale, 300 marks director Snyder as a possible successor to Peter Jackson's throne. Jackson also got his start in horror with BAD TASTE and DEAD ALIVE, and the two men share a penchant for ambitious battle scenes. The huge fights in 300 rival Jackson's efforts in the LORD OF THE RINGS films. David Wenham, who starred in two of the Tolkien-based films, plays Dilios, one of the Spartan soldiers. Though the cast doesn't boast any A-list stars, the actors ably fill their larger-than-life roles. In a film filled with men, Headley stands out as Queen Gorgo. She matches her warrior husband in strength, while showing love toward Leonidas and their son. Though there are scenes that demonstrate the humanity of the characters, 300 is undeniably about bravery and blood, and it succeeds because of the stylish depictions of both.

The Host ( Special Edition)

Bong Joon-ho's THE HOST is a giddy revelation--an inspired and unexpectedly moving contribution to the monster movie genre. Several years ago, a crooked government official from the United States ordered the dumping of toxic substances into Seoul's Han River. Years later, the hapless Gang-du (Song Kang-ho) is working at his father's food stand along the river, caring for his bright daughter Hyun-seo (Ko A-sung). But one day, a monstrous creature emerges from the water and embarks on a murderous rampage throughout the community, swallowing Hyun-seo whole. Gang-du's bullish younger brother Park Nam-il (Park Hae-il) and sister Nam-joo (Bae Doo-na) condemn him for being such a failure, while their father angrily chastises them for being so cruel. But when Gang-du receives a cell phone call from Hyun-seo, the family must band together to reclaim her. Unfortunately, at this stage, the government has announced that the monster is the host of a dangerous virus, and anyone who has come into contact with it--namely Gang-du--must be isolated. As the monster continues to wreak havoc on Seoul, Gang-du, his father, and his siblings must learn to work together to bring Hyun-seo home. Bong Joon-ho's third film, after BARKING DOGS NEVER BITE and MEMORIES OF MURDER, firmly establishes his status as one of the world's most gifted storytellers. Not simply a monster movie spectacle--though it is certainly that and then some--THE HOST also works as a poignant family drama and a biting critique of America's invasion of Iraq.

Ratatouille

With astounding animation, inspirational messages, and endearing characters, Pixar Animation Studios (THE INCREDIBLES, CARS) and Walt Disney Pictures have whipped up something special with RATATOUILLE. A rat named Remy (Patton Oswalt) lives in Paris with a dream (and the talent) to be a chef. Opting to raid the kitchens of Paris rather than the garbage cans and sewers of the city with his family, Remy is inspired by the philosophy of one of the city’s most legendary chefs, the late Gusteau (Brad Garrett). One night, Remy can’t resist practicing his skill in Gusteau’s restaurant. While his guard is down, Remy is discovered by a klutzy young man, Linguini (Lou Romano), who cleans the kitchen. Together Remi and Linguini become a culinary duo, with Remy playing puppeteer by concealing himself under Linguini’s chef’s hat. Remy pulls Linguini's hair to direct his hands, helping to bring Remy’s creations to life. Soon Gusteau’s restaurant becomes the talk of the town--but would it still be the toast of Paris if everyone knew a rat was running the show? The positioning of a city-dwelling rodent with a distinct palate and the aptitude to concoct mouthwatering dishes in one of Paris's finest eateries is the winning ingredient in RATATOUILLE’s inspirational presentation. And Remy’s brave conviction to break away from the pack and risk his life for what he loves and believes in gives the film a positive and heartwarming message for all ages.


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Caligula

"Caligula" is Bob Guccione's star-studded pornographic look into the world of Ancient Rome. It depicts the lusty and demented Caesar Caligula during his short-lived stint as Emperor of the mighty Roman Empire. While in power, Caligula had an affair with his sister and forced senators' wives to prostitute themselves. Caligula was finally assassinated by his own officers and replaced with his dim-witted cousin Claudius.
A reputedly faithful cinematic depiction of the historical events of Caligula's Rome, including the decadence and debauchery that marked his reign. This notorious release has faced rather hysterical hostility from would-be censors. Financed by Penthouse Magazine magnate Bob Guccione, who was accused of inserting hardcore sex scenes after completing photography with the impressive and esteemed cast of British actors. Contains graphic sex and violence. The R-rated version is shorter by 53 minutes!

Weird Science - The Complete Seasons 1&2

This TV show was brought to life in 1994, nearly a decade after the feature film on which it is based--John Hughes's WEIRD SCIENCE--was released. Michael Manasseri and John Mallory Asher respectively star as Wyatt and Gary, the two confused geeks from the feature film, who once again bring the girl of their dreams, Lisa (this time played by Vanessa Angel), to life via a little trickery on their home computer. Lisa can grant the boys any wish they desire, but things don't quite go according to plan, especially when Wyatt's older brother, Chett (Lee Tergesen), is around. This collection includes every episode from the first two seasons of the show.

Planet Earth: Complete Collection

David Attenborough narrates this original UK version of Planet Earth. With an unprecedented production budget of $25 million, and from the makers of Blue Planet: Seas of Life, comes the epic story of life on Earth. Five years in production, over 2,000 days in the field, using 40 cameramen filming across 200 locations, shot entirely in high definition, this is the ultimate portrait of our planet. This 11episode series captures rare action, impossible locations and intimate moments with our planet's best-loved, wildest and most elusive creatures. From the highest mountains to the deepest rivers, this blockbuster series takes you on an unforgettable journey through the daily struggle for survival in Earth's most extreme habitats. Planet Earth takes you to places you have never seen before, to experience sights and sounds you may never experience anywhere else.

Invasion

This slick sci-fi horror hybrid is the fourth adaptation of Jack Finney’s THE BODY SNATCHERS to land on screens. Infused with modern details like text messaging and 24-hour cable news, THE INVASION updates the classic story for today’s tech-centric world. After the space shuttle Patriot crashes unexpectedly, people across America begin to exhibit strange behavior. Psychiatrist Carol Bennell (Nicole Kidman, BEWITCHED) begins to notice the change in those around her, including her ex-husband, Tucker Kaufman (Jeremy Northam, GOSFORD PARK), who works at the CDC. Joined by her friend Ben Driscoll (Daniel Craig, CASINO ROYALE), Carol attempts to unravel the mystery as she rescues her young son. THE INVASION gives Kidman a chance to act the part of an action hero. She runs in heels, crashes cars, and shoots guns, but she looks more like a Hitchcockian blonde than a latter-day heroine. Clad in steely grays, she perfectly matches the film’s sober palette of neutrals. Genre veteran Veronica Cartright gives a good performance as one of Carol’s patients, who suspects that her husband isn’t himself. Cartright has appeared in sci-fi classics such as THE X-FILES and ALIEN, but she also starred in Philip Kaufman’s 1978 version of the story. Unlike WAR OF THE WORLDS or SIGNS, the invaders here don’t arrive in UFOs or appear as little green (or gray) men. Instead, the threat in THE INVASION is so creepy because the aliens look just like everyone else.

3:10 to Yuma

Based on the Elmore Leonard story, 3:10 TO YUMA is a riveting remake of the 1957 classic Western. It's the story of Dan Evans (Christian Bale), a down-and-out rancher who lost his leg in the Civil War. With a wife and two sons, he is struggling to put food on the table, and unable to make payments on his land. When the notorious gunman Ben Wade (Russell Crowe) is apprehended nearby, a few local men are needed to escort him to the town of Contention so he can be put on the 3:10 train to Yuma Prison. Few will volunteer for the job, as they know that Wade's ruthless gang will follow them, but Evans sees an opportunity to make some fast cash, and offers to go in exchange for $200. The small team of men set off, and are later joined by Evans's young son William (Logan Lerman), who has run away from home to join them. What follows is a race against time, as the group tries to get to Yuma without the clever and dangerous Wade outsmarting them. Crowe is fantastic as the smooth-talking gunman, and Bale delivers a moving performance as the weary-eyed Evans. The two men are perfect foils for each other. Wade is the infamous gunman, living the high life on the wrong side of the law, while Evans, who has struggled to lead an honest life, has only faced one hardship after another. It is a classic tale of good vs. evil, right vs. wrong, and yet, by the story's end, it becomes harder to separate the good guys from the bad. As the clock ticks down, the film builds to an emotional nail-biter of an ending, reminiscent of BUTCH CASSIDY AND THE SUNDANCE KID.

Harry Potter and the Order of the Phoenix

In the silver-screen adaptation of J.K. Rowling's HARRY POTTER AND THE ORDER OF THE PHOENIX, the fifth chapter in the beloved book series, everyone's favorite wizard-in-training (Daniel Radcliffe) finds himself in increasingly perilous situations. Not only is Harry in trouble with the Ministry of Magic for using his abilities outside of school, his trusted mentor, Professor Dumbledore (Michael Gambon), has grown distant, and an icy new Defense Against the Dark Arts teacher, Dolores Umbridge (Imelda Staunton), has arrived to bring a frightening level of discipline to Hogwarts. And waiting in the shadows is the demonic Lord Voldemort (Ralph Fiennes), an ominous figure whose very existence is questioned by the powerful Ministry, leaving Harry and his friends--most notably Ron (Rupert Grint) and Hermione (Emma Watson)--to form a rebel group, Dumbledore's Army. Helmed by little-known British director David Yates and written by Michael Goldenberg (the first scribe to fill the boots of Steve Kloves), THE ORDER OF THE PHOENIX continues the darker tone of the two preceding POTTER installments and deftly follows Harry, Ron, and Hermione as they face new foes and impending adulthood. While Radcliffe, Grint, and Watson all continue to imbue their characters with vitality and complexity, Staunton steals the show as the strict, merciless Umbridge, though the story, which lacks some of the special-effects-heavy set pieces of past chapters, happily leaves room for other actors to shine, most notably Alan Rickman (as the ever-enigmatic Severus Snape), Gary Oldman (Sirius Black), David Thewlis (Remus Lupin), and Helena Bonham Carter (Bellatrix Lestrange). Another fine offering of POTTER movie magic, PHOENIX may not astound quite the way that THE PRISONER OF AZKABAN did, but it easily stands as one of the best films in the series.

United 93

UNITED 93, director Paul Greengrass's meticulous reconstruction of the events surrounding the crash--the result of a heroic struggle between the passengers and hijackers--of the fourth plane to be hijacked on September 11, 2001, is a landmark in filmmaking. Greengrass has chosen the most politically and emotionally charged source material available to an artist in the early 21st century, and shaped it into a psychologically draining, terrifyingly real, and technically brilliant film. Like his first feature-length work, BLOODY SUNDAY, UNITED 93 doesn't follow a traditional cinematic narrative structure; via hand-held cameras, grainy DV stock, and frenetic editing, it instead presents a visceral (at times sickening) in-the-moment documentary-style experience that maximizes the film's unavoidable air of tension and dread without being crassly manipulative. Yet for all of its precision and craft, UNITED 93 still depicts one of the most terrifying ordeals the United States has ever had to face--and that it was released less than five years after those events took place plays an undeniably enormous role in how the film is received. It is impossible to watch UNITED 93 and not be profoundly moved, whether that emotion is fear, sadness, anxiety, or pure rage. And it is an emotional catharsis far removed from what is the filmmaker's delicate hand and deft touch. Greengrass, though, is quite fearless in his depiction of the chaos of the day--the President is frustratingly missing; the FAC, NORAD, and local air-traffic control centers are shown in a disoriented panic; and the terrorists are brutal and remorseless--and, to his credit, he avoids soft-pedaling any political agenda and doesn't blindly canonize the flight's passengers. Rather, their heroism is treated as the product of a logical decision made by ordinary men and women who found themselves in the most extraordinary and illogical of situations. And that, ultimately, is where the power of UNITED 93 lies.

Volver

Pedro Almodóvar, the Oscar-winning writer-director of such international successes as TALK TO HER and WOMEN ON THE VERGE OF A NERVOUS BREAKDOWN, returns to his hometown of La Mancha in Spain for the tender VOLVER. Raimunda (Penélope Cruz) is trying to keep her family together despite her husband's (Antonio de la Torre) inability to keep his job; when a terrible incident occurs at home, Raimunda covers it up in order to protect her daughter, Paula (Yohana Cobo). Meanwhile, Raimunda's sister, Sole (Lola Dueñas), believes that their mother, Irene (Carmen Maura), has come back from the dead; Sole even has the resurrected Irene working in the illegal hair salon she has set up in her apartment. Sole and their neighbor Agustina (Blanca Portillo), who had been taking care of their aged aunt (Chus Lampreave), try to keep this secret from Raimunda, with both funny and heartbreaking results--and the revealing of yet more secrets. Once again Almodóvar, who won the Best Screenplay Award at Cannes for VOLVER, displays his unique talent for creating fascinating female characters in this intricate study of three generations of women. The acting is a tour de force all around; the cast of VOLVER--which means "to return"--is a bit of a homecoming for Almodóvar as well, as he's previously worked with Cruz (ALL ABOUT MY MOTHER), Dueñas (TALK TO HER), and especially Maura (many times, including MATADOR and LAW OF DESIRE, but not in 17 years). VOLVER is a deeply personal, emotionally moving story of a very different kind of family, told by a master filmmaker at the peak of his talent.

Letters From Iwo Jima (Special Edition)

Clint Eastwood’s companion piece to FLAGS OF OUR FATHERS is again set during World War II. But in LETTERS FROM IWO JIMA, he looks at the war from the Japanese perspective, using Japanese dialogue. With American forces on their way, General Kuribayashi (Ken Watanabe, THE LAST SAMURAI) arrives on the island to find his troops woefully under-trained and hopelessly outmatched. Japanese pop and television star Kazunari Ninomiya plays Saigo, a young soldier who asks, "Am I digging my own grave?" as he creates trenches. With no hope of reinforcements, these men have little hope of leaving the island alive. Eastwood and director of photography Tom Stern paint their picture in a palette of taupes and grays. The landscape of the volcanic island is desolate, providing a hellish experience for the stationed soldiers but a stark beauty for the audience. With this bleak setting, LETTERS FROM IWO JIMA is a powerful ode to duty in dire circumstances. General Kuribayashi and Saigo provide the emotional center of the film, giving a glimpse into the minds of both seasoned officers and drafted novices. Eastwood doesn’t deal in simple heroes and villains; these characters are sympathetic and real, whether their motives are pride, fear, or loyalty to their country. Though only the Academy-Award-nominated Watanabe is a familiar face to American audiences, each of the actors involved displays his experience working in Japanese film, television, and theater. The battle scenes are breathtaking and brutal, but it’s the actors who are the core of the film. The picture has the standard tropes found in any modern war film, like verbal abuse by a superior and battle scenes filled with severed limbs. But Eastwood goes beyond the war-movie boilerplate with this impressive film that deserves every accolade it earns.

Dreamgirls

The 1982 Tony-Award-winning musical DREAMGIRLS shimmies its way to the big screen with a stellar cast and undeniable sheen. Set in 1960s Detroit, DREAMGIRLS follows the commercial and cultural struggles of the R&B recording industry, through the rise of the Dreamettes (later shortened to just the Dreams) from backup singers to headlining international superstars. The trio--Deena (Beyoncé Knowles), Effie (Jennifer Hudson), and Lorrell (Anika Noni Rose)--soon discover the harsh reality behind the glamour of fame and fortune, as the group's controlling and shady manager, Curtis Taylor Jr. (Jamie Foxx), uses them to help build his musical empire and capture his dream of crossing over from R&B to the pop charts. He sacrifices Effie's immense talent as lead singer for Deena's stunning, more mainstream look to sell the sound, pushing marketable appeal over musical artisanship--and compromising the ambitions of his protégés. Since its Broadway debut, DREAMGIRLS has been widely rumored to be inspired by the hugely successful girl-group the Supremes, as well as some of Motown's biggest players. Knowles's Deena portrays a Diana Ross-like character, radiant in miraculous recreations of the hairstyles and fashions that made Ross timeless, while Foxx's Taylor exemplifies the style of influential Motown Records founder Berry Gordy Jr. Former AMERICAN IDOL contestant Jennifer Hudson makes her feature-film debut delivering a knockout performance as the larger-than-life Effie, and Eddie Murphy is believable as the misunderstood James Brown-like character of Jimmy "Thunder" Early. Vibrant with colorful costumes and sleek backdrops, the film flows effortlessly from dialogue to musical numbers, each song capturing the richness of the talented cast and the essence of the era, endlessly soaring with fast-paced excitement and nonstop emotion.

Departed (Special Edition)

Director Martin Scorsese returns to his trademark style with the violent, bruised, and bloody feature THE DEPARTED. Scorsese filched the basic storyline from Wai Keung Lau and Siu Fai Mak's masterful 2002 Hong Kong action film, INFERNAL AFFAIRS, which saw a policeman going undercover as a mob member and a mob member infiltrating the police force. Scorsese transfers the action to Boston, positioning Leonardo Di Caprio as undercover cop William Costigan and Matt Damon as undercover mobster Colin Sullivan. While Costigan and Sullivan get into plenty of nail-biting situations that almost reveal their true identities, Scorsese gradually unravels his strong supporting cast, including Jack Nicholson as Sullivan's mob boss, Frank Costello; Ray Winstone as Costello's meat-headed muscle; Mark Wahlberg as a hot-headed police sergeant; and Vera Farmiga as a love interest for both Damon and DiCaprio's characters. THE DEPARTED finds Scorsese generously dipping his toes back into waters that will be warmly familiar to his biggest fans. Rolling Stones songs pepper the soundtrack, recalling the remarkable "Jumpin' Jack Flash" sequence in MEAN STREETS; bullets and blood punctuate every key scene, bringing TAXI DRIVER's explosive finale to mind; and the mobster-themed storyline is a thrilling return to GOODFELLAS territory. Nicholson and Winstone provide acting master-classes every time they appear, neatly complementing the blossoming talents of DiCaprio, Damon, and Wahlberg, while further veteran support comes in small roles for Martin Sheen and Alec Baldwin. Scorsese is often criticized for affording precious little screen time to female characters, and THE DEPARTED won't quell those dissenting voices, although Farmiga's character proves to be more than a match for DiCaprio and Damon's posturings. But Scorsese followers who balked at his diversions into documentary filmmaking (NO DIRECTION HOME) and period epics (THE AVIATOR) will be delighted to find raw male machismo puncturing the screen once again in this frenetic entry into his celebrated oeuvre.

BABEL

BABEL is the crowning achievement in the trilogy from the unstoppable creative pairing of screenwriter Guillermo Arriaga and director Alejandro Gonzalez Innaritu, which also includes AMORES PERROS (2000) and 21 GRAMS (2003). Building upon its predecessors’ method of weaving together disparate storylines, BABEL reaches new heights of ambition with a tale that, in the absence of traditional narrative and protagonist, relies on numerous incredible performances to evoke an affecting relevance by framing contemporary issues in very human struggles and mistakes. Richard and Susan (Brad Pitt and Cate Blanchett) are a wealthy couple from San Diego who are vacationing in Morocco in order to heal after the death of their young child; their other two children are at home with their Mexican maid, Amelia (Adriana Barraza). In a complex shift of ownership to which the audience is privy, a rifle finds its way into the hands of a local herdsman’s young sons (Said Tarchani and Boubker Ait El Caid), who recklessly take a shot at a tour bus and catch Susan in the shoulder, causing her to nearly lose her life. The distraught Richard calls home to tell Amelia of the situation, who promptly departs for Mexico to attend her child’s wedding, with Richard and Susan’s children in tow. Disaster thus multiplies, with the situation in Morocco ascribed to terrorists in the media, while Amelia meets with the harsh immigration policies of the Bush administration. Meanwhile, in Tokyo, a widower (Koji Yakusho) tied to the rifle in question attempts to deal with his memories and his raucous, promiscuous, deaf daughter (Rinko Kikuchi). Nearly every performance of the film is devastating, offering an intimate, emotional experience that would approach melodrama if it weren’t rendered so realistically. Cinematographer Rodrigo Prieto’s color palette masterfully captures the muted tones of the harsh natural landscapes of Morocco and the Mexican border, as well as the fluorescent lights of Tokyo that denote another, though equally barren, end of the spectrum. The misunderstandings born of cultural, language, and class barriers are on par with those that occur between family members, depicting a world that, while connected in the least expected of ways, is also faced with a deep-seated crisis that threatens to alienate humanity from itself.

Last Emperor (1987) Criterion Collection

THE LAST EMPEROR is the true story of Pu Yi, the last monarch of a China that changed drastically during his lifetime. Though he comes to power at the age of three and is waited on hand and foot by an army of servants and consorts, Pu Yi is politically powerless. His life becomes a tortuous struggle with this reality, as he is used as a puppet by the Japanese and later reeducated by the communists. Bernardo Bertolucci's award-winning film is epic, lavish, and poignant.
Although it is 160 minutes long and shot with breathtaking scope and sumptuousness, Bertolucci's film is a story about claustrophobia. Pu Yi, the Manchurian emperor of China who ascended the throne in 1908 at the age of three, is a prisoner in the palace he rules over. Outside, real power changes hands with each coup d'etat. Pu Yi grows to manhood, is tutored by a Westerner (Peter O'Toole), and marries a gorgeous princess (Joan Chen). However, the adult Pu Yi (John Lone) is destined for a communist reeducation camp when the war is over. From start to finish, Pu Yi is a passive antihero who can never come to grips with the idea that the absolute power conferred on him as a child was only a mirage. The mistakes Pu Yi made trying to realize that power, especially collaborating with the Japanese during the war, provide Bertolucci with the chance to explore his familiar theme of collaboration and its moral consequences (as he did in THE CONFORMIST and 1900). In the end, Pu Yi seems to have reached a kind of peace, and the terrible waste of a special man's life disappears into a drab, grey-clad Beijing.

TROY

With soaring photography that circles from above then swoops in for the action, TROY is Wolfgang Petersen's majestic presentation of the classic Greek legend. It tells the story of an epic battle over Helen (Diane Kruger), the queen of Sparta, who is kidnapped by her lover Paris (Orlando Bloom), the prince of Troy. This infuriates Helen's husband Menelaus (Brendan Gleeson), whose brother Agamemnon (Brian Cox) convinces him to invade Troy. They recruit Achilles (Brad Pitt), the best warrior in Greece, whose bravery, quick feet, and remarkable swordsmanship (not to mention tanned biceps, short kilts, and blond locks) have earned him a reputation that is almost as impressive as his ego. Achilles agrees to fight for Sparta, if only for the fame it will bring him. Even Achilles's mother, in a touching scene, advises him to forget mortal achievements and become a hero who will be remembered throughout history. Along with the invasion of Troy, a series of duels must also be fought: Paris, who is heartbreaking in his lovestruck naiveté, must go up against the enraged Menelaus, and Achilles must settle a score with Hector (Eric Bana), who is fiercely dedicated to protecting his brother Paris and their father, the frail king Priam (Peter O'Toole). When the war finally ignites in its massive proportions, the action is awesome. And as the increasingly dramatic events play out, TROY earns its own timeless reputation among other action-adventure epics such as GLADIATOR and SPARTACUS.

War

Set in San Francisco amidst a feud between the Japanese yakuza and Chinese Triad criminal factions, director Philip G. Atwell's WAR stars Jet Li as the enigmatic assassin Rogue, and Jason Statham as Jack Crawford, an F.B.I. agent determined to track him down. As the prime suspect in the murder of Crawford's partner, the elusive Rogue uses the mayhem of gang warfare to his advantage, even as the gruff lawman closes in on his trail, leading to a dramatic showdown. Although Li and Statham have shared the screen before in THE ONE, this is the first film to give the two stars equal billing. While Li has little to say in the movie, his actions speak volumes; he plays Rogue with a sleek menace that contrasts nicely with Statham's gruff, no-nonsense presence. WAR is the debut studio film from hip-hop-video director Philip G. Atwell (best known for his work with Eminem and 50 Cent). It moves at a brisk, quick-cut pace, and benefits from fight choreography by veteran Chinese actor/director Corey Yuen. Though martial-arts fans may be slightly disappointed by the movie's focus on gunplay, one of its centerpieces, a furious swordfight that showcases Li’s stunning dexterity, is sure to please aficionados of Hong Kong-style kinetics.

Sunshine

Danny Boyle has excelled in nearly every genre he’s touched from the family film (MILLIONS) to the zombie movie (28 DAYS LATER) to the drug-fuelled drama (TRAINSPOTTING). With SUNSHINE, he brings his style and verve to the futuristic world of science fiction to great success. In a mere five decades in the future, the sun is dying, and Earth is running out of time. After the failure of a previous mission, it’s up to the crew of the Icarus II to reignite the star with a stellar bomb. But the crew faces more than just the blistering heat of the sun and the freezing cold of space as they grapple with the limits of the human mind and heart. As in Boyle’s previous work, the visuals in SUNSHINE are stunning. It’s a beautifully shot film filled with contrasts, juxtaposing light and dark, sound and silence, and life and death. SUNSHINE resides in the respected realm of smart science fiction films such as 2001: A SPACE ODYSSEY and SOLARIS. Alex Garland’s fine script never dwells on the specifics of the technology, but instead spends its time on the characters. For these roles, Boyle has assembled an excellent cast that includes Cillian Murphy, Chris Evans, Michelle Yeoh, and Cliff Curtis. Like the classic 2001, SUNSHINE’s appeal extends beyond its genre. Though it’s packed with special effects and heart-stopping action, it’s an intelligent film that should be enjoyed by everyone who loves movies, not just those who like science fiction.

Natural Born Killers

Woody Harrelson and Juliette Lewis star as Mickey Knox and Mallory Wilson, two young, attractive mass murderers in love in Oliver Stone's wild-eyed satire on the American fascination with criminals. After killing Mallory's loathsome parents, the pair perform a ritual "marriage" and take off on a "honeymoon" killing spree that wipes out 52 people. Bloodthirsty tabloid reporter Wayne Gale (Robert Downey Jr.) reports their every move to an adoring public while warden Dwight McClusky (Tommy Lee Jones) is only too eager to welcome such celebrities to his prison.
Oliver Stone's over-the-top satire on America's worshipful fascination with tabloid criminals stars Woody Harrelson as Mickey Knox and Juliette Lewis as girlfriend-wife Mallory Wilson. Commencing with the dual murder of Mallory's sexually abusive father (Rodney Dangerfield) and grossly negligent mother (Edie McClurg), the anomic couple take off on a three-week killing spree across the country, telling everyone who they are so that they get the credit for their crimes. The media are immediately enthralled with the couple, especially Wayne Gale (Robert Downey Jr.), the bloodthirsty host of a tabloid TV show who follows their every move. By the time they're finally arrested, they've become such huge media stars that the cops treat them more like celebrities than criminals. Even the maniacal limelight-hogging warden of the Batongaville State Prison, Dwight McClusky (Tommy Lee Jones), is in awe. Stone pulls out all the stops in the prison riot, as the unwitting Gale becomes an unwilling participant in his own broadcast of the event. Again the director switches from film to video, from color to black and white, from sitcom parody to newsreel parody, and from one film stock to another, hoping to jar the audience out of its complacency with visual hyperbole.

Anacondas: The Hunt for the Blood Orchid

Some greedy scientists discover the "blood orchid" holds the secret to immortality, blooms once every seven years, and only grows deep in the jungles of giant python-infested Borneo. Quickly, an expedition is formed but it's the rainy season and the only boat they can charter is a leaky barge belonging to unshaven Captain Johnson (Johnny Mesner). The cute blonde in the expedition (KaDee Strickland) digs Johnson's stoic demeanor, while her scientist boss (Matthew Marsden) tries to win her through promises of untold riches once they find that orchid. Some of the other potential items on the snakes' menu: Johnson's burly co-pilot (Karl Yune), a handsome ship's doctor (Nicholas Gonzalez), a shrieking techie nerd (Cole Burris), Johnson's pet monkey, and two corporate money-grabbers (Morris Chestnut and Salli Richardson). Of course the only ones who are going to be doing any real grabbing here are the gigantic anacondas, who recognize a boat full of lunch when they see one. They attack from nowhere and are big and fast. As if they weren't enough trouble, there are also poison spiders, a giant crocodile, dangerous waterfalls, explosions, treachery, headhunters, and slimy leeches. Fans of the original may miss Jon Voight, but pretty much everything else--a great mixture of fun, suspense, and both intentional and unintentional laughs--is here, including the healthy tweaking of racial and sexual horror-film stereotypes. Monster movie connoisseurs will find this a meal they can swallow whole and digest for days.

DOOM

A mild-mannered FBI chemical weapons expert and an aging prisoner who's the only man ever to have escaped from Alcatraz team up to rescue a group of tourists being held hostage on the Rock. The last film produced by the legendary Simpson-Bruckheimer team, this nonstop action-thriller packs an unrelenting pyrotechnic wallop.
In Michael Bay's THE ROCK, gung-ho general Francis Hummel (Ed Harris), armed with deadly chemical rockets and aided by violent cohorts, takes over the island of Alcatraz, holding 81 tourists hostage. Hummel promises to deploy the missiles over San Francisco if Washington doesn't make amends to ignored combat victims to the tune of $100 million. A cadre of Navy SEALs are dispatched to quell the situation, assisted by the mysterious, macho John Mason (Sean Connery), the only man to ever escape from Alcatraz, who must now help the SEALs break back in. Joining them is mild-mannered chemical weapons expert Stanley Goodspeed (Nicolas Cage), who is unaccustomed to such things as guns and military maneuvers. Their high-octane mission is filled with surprises, particularly after Hummel and company quickly annihilate the SEALs--leaving Mason and Goodspeed to save the day all by themselves.

The Rock

A mild-mannered FBI chemical weapons expert and an aging prisoner who's the only man ever to have escaped from Alcatraz team up to rescue a group of tourists being held hostage on the Rock. The last film produced by the legendary Simpson-Bruckheimer team, this nonstop action-thriller packs an unrelenting pyrotechnic wallop.
In Michael Bay's THE ROCK, gung-ho general Francis Hummel (Ed Harris), armed with deadly chemical rockets and aided by violent cohorts, takes over the island of Alcatraz, holding 81 tourists hostage. Hummel promises to deploy the missiles over San Francisco if Washington doesn't make amends to ignored combat victims to the tune of $100 million. A cadre of Navy SEALs are dispatched to quell the situation, assisted by the mysterious, macho John Mason (Sean Connery), the only man to ever escape from Alcatraz, who must now help the SEALs break back in. Joining them is mild-mannered chemical weapons expert Stanley Goodspeed (Nicolas Cage), who is unaccustomed to such things as guns and military maneuvers. Their high-octane mission is filled with surprises, particularly after Hummel and company quickly annihilate the SEALs--leaving Mason and Goodspeed to save the day all by themselves.

Live Free or Die Hard

After a twelve-year hiatus, Bruce Willis is back as New York City detective John McClane, who still plays by his own set of rules. Following DIE HARD (1988), DIE HARDER (1990), and DIE HARD WITH A VENGEANCE (1995), the fourth installment in the popular action series stars DEADWOOD's Timothy Olyphant as Thomas Gabriel, an evil mastermind who is determined to bring down the entire infrastructure of the United States on Independence Day, sending the country into anarchy and chaos. Joining him on his mission of destruction is the elegant Mai, played by Maggie Q from MISSION: IMPOSSIBLE III. McClane becomes involved when he gets caught in the crossfire while transporting prisoner Matt Farrell (Justin Long, most well known as the mac in a series of computer commercials), a hacker extraordinaire who is the perfect complement to the old-school McClane, who eschews cell phones, computers, and doing anything the easy way. But when Gabriel kidnaps McClane's daughter, Lucy (Mary Elizabeth Winstead, from the DEATH PROOF section of GRINDHOUSE), it gets personal. Full of the sarcastic humor, exciting action sequences -- including flying cars -- and fun characters that have defined the series, LIVE FREE OR DIE HARDER is an excellent addition, directed by Len Wiseman (UNDERWORLD and UNDERWORLD: EVOLUTION). The plot was based on a magazine article, "A Farewell to Arms," written by John Carlin, that appeared in a 1997 issue of WIRED magazine. The movie also features Kevin Smith as a computer geek -- er, expert -- known as Warlock, who still lives in his mother's basement. Yippee-ki-yay indeed.

Black Hawk Down

On October 3, 1993, Army Rangers and members of the elite Delta Force participated in a covert operation in Mogadishu, Somalia that went horribly wrong. Sent to abduct two lieutenants of a vicious Somali warlord, the soldiers found themselves surrounded by hostile militia. Two Black Hawk helicopters were shot down and many men lost their lives. Mark Bowden of the Philadelphia Inquirer told the story of the battle in his exhaustively researched, critically acclaimed book, BLACK HAWK DOWN, and filmmaker Ridley Scott (GLADIATOR) and screenwriter Ken Nolan have done an amazing job of bringing the dramatic story to the screen. Like Bowden's book, the film does not thoroughly examine the context of the conflict, but gives a detailed and intense blow-by-blow account of the fighting. The outstanding ensemble cast includes Josh Hartnett as a competent but nervous Ranger sergeant leading his first mission, Ewan McGregor as a "desk jockey" who excels when sent into combat, Eric Bana (THE INCREDIBLE HULK) as a cocky and enigmatic Delta, and Ron Eldard as a downed Black Hawk pilot. The violence of the film is brutal and nearly constant. Scott unflinchingly captures the chaos and mayhem of battle with tremendous visual finesse.

Saving Private Ryan

Steven Spielberg's award-winning film is a brutal look at the devastation that war leaves behind, both physically and emotionally. Standouts in the film include Tom Hanks as the seemingly hardened leader, Ed Burns as the cocky New Yorker, and Jeremy Davies as the wanna-be writer who'd rather be carrying a typewriter than a gun. A closing battle nearly matches the opening scene's in impact, and Spielberg concludes matters with a present-tense bookend, as in SCHINDLER'S LIST, that drills the point home.
Director Steven Spielberg's World War II tour de force chronicles the journey of a GI squad on a dangerous mission behind enemy lines. Led by Captain John Miller (Tom Hanks), the unit is under orders to track down a soldier, Private Ryan (Matt Damon), so he might return home to his mother in America, where she is grieving the unimaginable loss of her three other sons to the war. The first unforgettable 20 minutes of SAVING PRIVATE RYAN realistically and horrifically depicts the Normandy invasion as Miller. his second-in-command, Sergeant Horvath (Tom Sizemore), and the others in the unit land at Omaha Beach. Before the film began shooting, Hanks and the actors in his squad went through a one-week boot camp in the woods. All the actors, except Hanks, wanted to quit, but Hanks rallied their spirits by reminding them of the incredible tribulations endured by the real veterans of World War II. Production designer Tom Sanders found a beach in Ireland that perfectly matched the landscape of Normandy’s. Spielberg gave great credit to the Irish army who helped re-create the Omaha Beach scenes.

Saw IV

The fourth SAW film takes fans into uncharted waters. Now that John/Jigsaw (Tobin Bell) is dead, screenwriters Patrick Melton and Marcus Dunstan (writers of the Project Greenlight-produced FEAST) give us Jigsaw’s "origin" story--finally showing us why he does what he does. Along they way, they still find time to work in the usual dose of elaborate Rube Goldberg-like torture devices and heaps of MPAA-defying gore in what plays like an extreme version of CSI. During his (extremely graphic) autopsy, Jigsaw’s final tape (swallowed in SAW III) is found in his stomach. Promising that his work will continue despite his passing, his message sets off a series of grisly tasks for anxious SWAT team leader Rigg (Lyriq Bent), who is given 90 minutes to rescue detectives Matthews (Donnie Wahlberg) and Hoffman (Costas Mandylor), who are to be dispatched via blocks of ice and high voltage wires. Trailing Rigg are FBI agents Strahm (Scott Patterson of GILMORE GIRLS) and Perez (Athena Karkanis), who get some unexpected blood on their hands along the way. A series of flashbacks details a pivotal event between Jigsaw and his girlfriend, Jill (1980s beauty Betsy Russell, PRIVATE SCHOOL), which inspired him to devote the remainder of his life to the creation of his signature puzzles. Darren Lynn Bousman, director of the previous two sequels, returns once again to ensure that the series retains its trademark desaturated look. Though viewers starting with this installment may find the brief glimpses of characters from the previous films confusing, fans should be pleased with how the films link together. They are also sure to appreciate that, like FRIDAY THE 13th carrying on sans Jason in PART IV: A NEW BEGINNING, the death of Jigsaw won’t keep the franchise from evolving into SAW V and beyond.

Kingdom

Actor, writer, and director Peter Berg (FRIDAY NIGHT LIGHTS) delivers a fearless, action-packed political thriller with THE KINGDOM. Shot in the Middle East with unsettling immediacy, the hand-held cameras put viewers right inside the action, while the tension between American FBI agents and their Saudi counterparts maintains an interesting uncertainty about who’s "right" and who’s "wrong." The bad guys, however, are unmistakable: the film opens with a brutal terrorist attack on an oil company compound in Saudi Arabia, where a visiting FBI agent is killed. Back home in Washington, fellow agents Ronald Fleury (Jamie Foxx, RAY) and Janet Mayes (Jennifer Garner, ALIAS), want revenge, and will do whatever it takes to gain access to the investigation. Fleury all but blackmails a Saudi prince to get clearance against the wishes of a timorous attorney general, and flies overnight to the scene of the crime. Accompanying him are the no-nonsense forensics expert Mayes, Southern-fried bomb authority Grant Sykes (Chris Cooper, ADAPTATION), and Jewish smart aleck Adam Leavitt (Jason Bateman, ARRESTED DEVELOPMENT). Once there, they encounter the resistance of a Saudi government more interested in getting the Americans safely out of the country and avoiding conflict, rather than in solving the crime. They are assigned a smarmy handler with a weak stomach (Jeremy Piven, ENTOURAGE) to make sure they stay out of trouble. The team must navigate a maze of bureaucracy to begin collecting evidence, but they have an unlikely ally in their Saudi escort, Colonel Faris Al Ghazi (Ashraf Barhom, PARADISE NOW), a scrupulous and intelligent officer whom Fleury befriends. Soon enough, procedure and protocol give way to car chases and explosive fire fights, and the current bleak political climate of extremism and violence is portrayed in a stark light with no easy answers.

Bourne Ultimatum

The government's most wanted amnesiac super-spy returns in this thrilling third installment in the Jason Bourne franchise. THE BOURNE ULTIMATUM picks up where the THE BOURNE SUPREMACY left off, with Bourne once again racing around the globe, desperate to uncover the secrets of his identity. Having just lost his girlfriend and only companion, his search for answers is now fuelled by much more than his own self-preservation. The film kicks off with Bourne tracking down a British journalist (Paddy Considine) who he believes has valuable information about his past. He quickly discovers that the government conspiracy runs far deeper than he realized, and so begins a riveting, action-packed game of cat and mouse with the CIA. Bourne plows through the bad guys like a mini-tornado, and after some breathtaking fight sequences and several nail-biting car chases, he closes in on the truth in a climactic stand-off on the streets (and rooftops) of New York City. Joan Allen and David Strathairn are excellent as two battling CIA directors, and Julia Styles pops up for a small but important turn as Bourne's former government contact. Matt Damon continues to give Bourne the perfect mix of tough guy determination and sad-eyed desperation, and despite his physics-defying fists, he never comes off as the invincible super hero. Rather, the appeal of Bourne remains in his humanness--he feels pain, bloodies his knuckles, and mourns the loss of his lover. It's this emotional and physical vulnerability that keeps you on the edge of the seat, holding your breath for him. Well, that and the totally awesome fight scenes, of course.

Resident Evil: Extinction

It’s three years after the action of RESIDENT EVIL: APOCALYPSE, and the world has turned to desert in this third film based on the now-classic video game RESIDENT EVIL. Survivors of the zombie-making T-virus are few and far between, but Alice (Milla Jovovich) treks her way across the desolate landscape, fending off zombies and fighting the Umbrella Corporation. Not only is the company responsible for the virus and the state of the world, but their experiments also turned Alice into a super-human fighting machine. She reunites with Carlos (Oded Fehr) and L.J. (Mike Epps) when she joins with a caravan of people led by Claire Redfield (Ali Larter, HEROES). Together, the band battles the undead as they make their way to the promised safety of Alaska. The zombies of RESIDENT EVIL: EXTINCTION have more in common with the fast-moving fiends of 28 DAYS LATER than with the lumbering creatures of George Romero’s classic NIGHT OF THE LIVING DEAD. However, this film doesn’t limit itself to human zombies; instead, there’s horror to be found in undead dogs and crows. But none of these are any match for Jovovich’s Alice. Whether clad in chaps and short shorts or a slinky red dress and boots, Jovovich is dressed to kill as she takes down the zombie hordes with a lethal combination of guns, knives, and a powerful pair of legs. Just as in ULTRAVIOLET and THE FIFTH ELEMENT, the actress has perfected the role of the dangerous beauty, and this film’s blend of butt-kicking action and horror-movie scares provides the perfect opportunity for her to shine.

"SHOOT'EM UP"

For an action film, boasting a body count higher than its IQ isn’t always a bad thing. In director and screenwriter Michael Davis’s stylish SHOOT ‘EM UP, inventive set pieces, and tongue-in-cheek humor make for fun, fast entertainment. Clive Owen (CHILDREN OF MEN) plays Smith, a man who is minding his own business and chomping on carrots when he is forced to try to save a pregnant woman in trouble. After she is killed, he takes charge, keeping her newborn child safe from a snarling villain (Paul Giamatti, THE ILLUSIONIST). Aided by a prostitute (Monica Belluci, THE BROTHERS GRIMM), Smith shoots his way through the big city as he cradles the baby in his arms. Davis hails from the same school of thought as fellow directors Quentin Tarantino and Robert Rodriguez. Like those filmmakers, Davis doesn’t take the medium too seriously, as he pays homage to action classics and peppers the film with playful dialogue and set pieces. This film might not be the standard choice for an Oscar-nominated actor such as Giamatti, but he’s clearly enjoying his role as the bad guy, and it’s just as much fun for the audience. With SHOOT ‘EM UP, Davis has crafted a movie full of jaw-dropping action sequences sure to please fans of high-energy films from directors such as John Woo.