"Underclassman," starring Nick Cannon, is exactly what it aims to be — an underdeveloped, generic comedy aimed at a teen audience with extremely low expectations. Most of the movies coming out of Hollywood today, especially the comedies, are terrible, but people go see them anyway.
With femme fatales, "French Connection" inspired car chase scenes, a balding Australian with moves like Jackie Chan, hot cars and more explosions than the National Mall on July 4, "Transporter 2" accomplishes exactly what its predecessor, "The Transporter" does; it returns to basics, which in an age where Tom Cruise can set the standards with Mission Impossible II, is more than just a welcome change.
When a film is advertised as a "thriller" audiences usually conjure images of high speed car chases, scantily clad women and of course, lots and lots of explosions. However, "The Constant Gardener" has none of these features, which is, perhaps, what makes it so extraordinary.
Films often achieve cult status either because they don't make any sense whatsoever — "Rocky Horror" definitely qualifies — or because, like "The Matrix" or "Fight Club," they seem to make so little sense that, on closer examination, they make perfect sense. "Kontroll," rookie director Nimrod Antal's existential allegory filmed entirely in the Budapest subway system, falls under the latter and more paradoxical category.
The art of Kung Fu is a serious study that takes discipline and effort. Organized crime gangs are intimidating, violent and ruthless groups who have the ability to throw entire cities into chaos. Now what happens when these two subjects come together? Why, you get "Kung Fu Hustle," the funniest film of 2005 so far.
At first it seems like a typical action movie. Secret service agents, gunfights, terrorism, plot twists, it has all the elements. But beneath the surface, "The Interpreter" is a gritty thriller, one that doesn't shy away from the complicated and brutal politics of its subject, postcolonial Africa, and one that explores raw human relationships to the fullest extent.
Just as no contemporary author would dare to undertake a work of the length, sensitivity, and historical perspective of a "War and Peace," "Don Quixote" or "Les Miserables", so too would no modern director undertake a film with the scope or complexity of "Andrei Rubelev."
Every friendship is full of stories, sentiments and unforgettable moments shared together. "Sideways," the latest triumph by director and writer Alexander Payne ("About Schmidt"), deals with the complex subject of relationships in a way that is moving, intelligent and hilarious all at once.
A movie completely devoid of redeeming qualities is tolerable in the sense that nothing seems wasted. However, "The Woodsman," is even more disappointing than such a film because it wastes a remarkably powerful and chilling performance from Kevin Bacon by not offering a worthy backdrop.
Idiosyncratic filmmaker Wes Anderson is constantly devoted to evoking new worlds for his audience to venture into, from the confused mind of a precocious 15-year-old in Rushmore to the off-the-wall dysfunction of The Royal Tenenbaums. In his latest and arguably most ambitious endeavor, The Life Aquatic with Steve Zissou, Anderson plumbs the depths of imagination to create an entire undersea kingdom.
Take James Bond, turn him into a conniving diamond thief, grow him a bit of stubble, add an awkward archenemy, throw in a few curvy divas, put them all in the Bahamas and you get After the Sunset, a mediocre flick that is at times entertaining, and at others, stone cold dreadful.
Documentaries are usually for informing only, but "Tarnation" goes beyond the simple genre to create an incredible work of true-life-cinema. Jonathon Caouette's innovative filmmaking debut, "Tarnation" makes sorrowful tales of family and life as entrancing as they are poignant.
Rock stars: something about their extravagant lifestyles and rebellious attitudes makes them fascinating to many. However, in the documentary "DIG!", there is another side of rock musicians shown, a human side, including their relationships and the highs and lows of their careers.
The only words that can describe Team America: World Police are too offensive to be printed. Never has a movie with such an ingenious satirical element been so ruined by extreme vulgarity.
It's halftime at the Texas state football championship game and the Permian-Odessa Panthers are down by a lot. As their coach (Billy-Bob Thornton) gives a fiery locker room speech, the camera cuts between the battle-scarred faces of the game-battered gridiron warriors, capturing the blood, the sweat, the tears of high schoolfootball at its highest level.
In his book Worse than Watergate, former Nixon legal aid John Dean expresses surprise at George W. Bush's ability to run a secretive and dishonest administration. After all, Nixon had the sort of ruthless intellect that made him truly Nixonian, whereas Bush seems a little too preoccupied with basic pronunciation to control a political machine anywhere near as frightening as his predecessor's.
Silver City is like the unholy lovechild of Fahrenheit 9/11 and Erin Brokovich, some outlandish, ineffectual combination of thinly veiled satire and underdeveloped champion-of-justice drama that begs the question, did writer/director John Sayles (Sunshine State, Passion Fish) watch his latest endeavor all the way through before unleashing it on us?
We found 608 results.