Films of James Bond creates the false impression indeed work in a Secret Service applicants, the head of the Personnel Division of the British Foreign Intelligence MI6. According to him, in the department treated many fans of acute sensations, in which special services are not interested, transmits agency Reuters.
Chief HR MI6, named only by the name "Mark", said in the radio broadcast BBC Radio One, that the lives of modern intelligence agent has little to do with sport utility vehicles, available women and cocktails "with a vodka Martini", which should be thoroughly, but not confused. "Mark" also stressed that the Secret Service agents do not have a license to kill and were not pistols Beretta. "
Statement by the Chief of Staff for the MI6 and the two agents, one woman is part of a program to recruit new staff, writes Guardian newspaper. It will go all week on the transfer of exploration at the radio station BBC Radio One. To avoid exposure, employees take special precautions: for example, their voices on the air specifically distorted.
An estimated newspapers, currently in MI6 employed about two thousand employees, a finished budget service is about 200 million pounds. Secret Service requires people who are well owning foreign languages, particularly Arabic, Farsi (the language of Iran), Urdu (the most common language in Pakistan), Spanish and Chinese.
As Daily Telegraph newspaper reports, "Mark" stressed that foreign exploration need people of different nationalities can enter there, which would not be able to get white men.
HR MI6 disappointed fans of James Bond
3000 Miles to Graceland (Action,Comedy,Crime,Drama,Thriller)
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It was an ingenious enough plan: rob the Riviera Casino's count room during an Elvis impersonator convention. But Thomas Murphy decided to keep all the money for himself and shot all his partners, including recently-freed ex-con Michael Zane. With $3.2 million at stake, the Marshals Service closing in, and single mom Cybil Waingrow and her son Jesse constantly confounding things, Michael must track down Murphy.
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Here's a movie without an ounce of human kindness, a sour and mean-spirited enterprise so desperate to please, it tries to be a yukky comedy and a hard-boiled action picture at the same time. It's about a gang that robs a casino while masquerading as Elvis impersonators. I was nostalgic for the recent "Sugar and Spice," in which cheerleaders rob a bank while masquerading as five pregnant Betty dolls (plus one Richard Nixon).The movie has a heavy-duty cast, with top billing shared by Kurt Russell and Kevin Costner. Russell once played Elvis, very well, on TV, and hits some of the right verbal notes here. Costner, the leader of the gang, chain-smokes and looks mean. His fellow criminals include Christian Slater, David Arquette and Bokeem Woodbine, who is the black guy and therefore the first to die, adhering to an ancient cliche this movie lacks the wit to rewrite.The casino robbery involves a gory bloodbath, all gratuitous, all intercut with an Elvis revue on one of the show stages. Not intercut a little, but a lot, complete with dancing girls, until we see so much of the revue we prefer it to the shooting. (Looks like dozens of patrons are killed, but the movie of course forgets this carnage the minute it's over.) The gang makes off with the loot, there is the inevitable squabble over how to divvy it up, and then the movie's most intriguing and inexplicable relationship develops.This is between Kurt Russell and Courteney Cox, who plays the mom of a bright young kid (David Kaye), and is stranded in the Last Chance Motel, one of those movie sets from a Road Runner cartoon.Cox's character is intriguing because we never understand her motivation, and inexplicable because she doesn't, either. She really does like Russell, I guess, and that explains why they're in the sack so quickly, but then the kid, who is about 8, creeps into the bedroom and steals Russell's wallet. The movie never questions the wisdom of showing the kid in the room while his mother is in bed with a stranger. One imagines that the filmmakers were so tickled by the plot point that the moral questions just didn't occur to them.At a point later in the movie, the Cox character drives off in a car containing most of Russell's loot, while leaving her son behind with him. Would a mother do this? Some would, but most movies wouldn't consider them heroines. There is an "explanation" for her behavior, based on the fact that Russell, a criminal she has known for about 10 minutes, is obviously a good guy and likes the guy--but, come on.The plot is standard double-reverse, post-"Reservoir Dogs" irony, done with a lot of style and a minimum of thought. It's about behavior patterns, not personalities. Everybody is defined by what they do. Or what they drive: As the film opens, Russell is in a 1957 red Cadillac, and Costner drives a Continental convertible of similar vintage, perhaps because they want to look like Elvis impersonators, more likely because all characters in movies like this drive 1950s cars because modern ones are too small and wimpy.The cast stays top drawer right down to the supporting roles. Kevin Pollak turns up as a federal marshal, Jon Lovitz is a money launderer, Ice T is hired muscle. You guess they all liked the script. But the Russell and Costner characters are so burdened by the baggage of their roles that sometimes they just seem weary, and the energy mostly comes from Cox--and from the kid, who seems to be smarter than anyone else in the film, and about as experienced.I will give "3000 Miles to Graceland" credit for one thing, a terrific trailer. When a bad movie produces a great trailer, it's usually evidence that the raw materials were there for a good movie. I can imagine a blood-soaked caper movie involving Elvis disguises, a lonely tramp and her bright-eyed son, but it isn't this one.Download here
Reindeer Games (Action,Crime,Drama,Thriller)
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After being imprisoned for six years on a grand theft auto charge, Rudy Duncan (Ben Affleck) and his cellmate Nick (James Frain) are finally going to be paroled. After hearing endless stories during his incarceration of Nick's romantic correspondence to a woman named Ashley he has never met (Charlize Theron), Rudy is looking forward to returning to his family and having a fresh cup of hot chocolate. When Nick is killed during a prison riot, Rudy decides to assume Nick's identity upon release from prison and meet up with the unknown woman. Burdened with a base knowledge of Nick's Indian casino employment past, Rudy finds himself in too deep with Ashley's brother Gabriel (Gary Sinise) and is violently forced to cooperate with a casino robbery that Gabriel and his gang have been planning with Nick in mind.
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"Reindeer Games" is the first All Talking Killer picture. After the setup, it consists mostly of characters explaining their actions to one another. I wish I'd had a stopwatch, to clock how many minutes are spent while one character holds a gun to another character's head and gabs. Charlize Theron and Gary Sinise between them explain so much they reminded me of Gertrude Stein's line about Ezra Pound: "He was a village explainer, excellent if you were a village, but if you were not, not." Just a nudge, and the movie would fall over into self-parody, and maybe work better. But I fear it is essentially serious, or as serious as such goofiness can be. It opens in prison, with cell mates Rudy (Ben Affleck) and Nick (James Frain). Both are about to be set free. Nick has engaged in a steamy correspondence with Ashley (Theron), one of those women who have long-distance romances with convicts. His cell wall is plastered with photos that make her look like a model for cosmetics ads.But then (I am not giving away as much as it seems, or perhaps even what it seems), Nick is knifed in a prison brawl, and when Rudy walks out of prison and lays eyes on Ashley--well, what would you do? That's what he does. "I'm Nick," Rudy tells her. Soon they make wild and passionate love, which inevitably involves knocking things over and falling out of bed and continuing on the floor. You'd think if people were that much into sex, they'd pay more attention to what they were doing.Then there's a major reality shift, and perhaps you'd better stop reading if you don't want to know that . . . Ashley's brother Gabriel (Sinise) heads a gang of scummy gunrunners who think Rudy used to work in an Indian casino in upstate Michigan--because, of course, they think Rudy is Nick, and that's what Nick told Ashley about himself. Gabriel and his gang try to squeeze info about the casino's security setup out of Rudy, who says he isn't Nick, and then says he is Nick after all, and then says he isn't, and has so many reasons for each of his answers that Gabriel gets very confused, and keeps deciding to kill him, and deciding not to kill him, and deciding to kill him after all, until both characters seem stuck in a time loop.There are other surprises, too, a lot of them, each with its explanation, usually accompanied by an explanation of the previous explanation, which now has to be re-explained in light of the new explanation. They all got a lot of 'splainin' to do.The movie's weakness is mostly in its ludicrous screenplay by Ehren Kruger. The director, John Frankenheimer, is expert at moving the action along and doing what can be done with scenes with which hardly anything can be done. Affleck and Theron soldier through changes of pace so absurd it takes superb control to keep straight faces. Theron's character looks soft and sweet sometimes, then hard and cruel other times, switching back and forth so often I commend her for not just passing a hand up and down in front of her face: smile, frown, smile, frown.Perhaps the movie was originally intended to open at Christmas. That would explain the title, and the sequence where the casino, which looks like a former Target store, is stuck up by five Santas. But nothing can explain the upbeat final scene, in which, after blood seeps into the Michigan snow, we get a fit of Robin Hood sentimentality. The moment to improve "Reindeer Games" was at the screenplay stage, by choosing another one.Download here
BloodRayne (Action,Fantasy,Horror)
Revenge never tasted so sweet.
She's one Hell of a heroine...literally!
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In eighteenth century Romania, Rayne, a dhampir (half-human, half-vampire), prone to fits of blind blood rage but saddled with a compunction for humans, strives to avenge her mother's rape by her father, Kagan, King of Vampires. Two vampire hunters, Sebastian and Vladimir, from the Brimstone Society persuade her to join their cause.
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Tears of the Sun (Action,Drama,Thriller)
The lives of many rest in the courage of a few.
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Navy SEAL Lieutenant A.K. Waters and his elite squadron of tactical specialists are forced to choose between their duty and their humanity, between following orders by ignoring the conflict that surrounds them, or finding the courage to follow their conscience and protect a group of innocent refugees. When the democratic government of Nigeria collapses and the country is taken over by a ruthless military dictator, Waters, a fiercely loyal and hardened veteran is dispatched on a routine mission to retrieve a Doctors Without Borders physician, Dr. Lena Kendricks. Dr. Kendricks, an American citizen by marriage, is tending to the victims of the ongoing civil war at a Catholic mission in a remote village. When Waters arrives, however, Dr. Kendricks refuses to leave unless he promises to help deliver the villagers to political asylum at the nearby border. If they are left behind, they will be at the mercy of the enormous rebel army. Waters is under strict orders from his commanding officer Captain Bill Rhodes to remain disengaged from the conflict. But as he and his men witness the brutality of the rebels first-hand, they are won over to Dr. Kendricks' cause and place their lives at risk by agreeing to escort the villagers on a perilous trek through the dense jungle. As they move through the countryside on foot, Waters' team, experts at evasion and concealment, are inexplicably and ferociously pursued by an army of rebels. They are confounded until they discover that, among the refugees, is the sole survivor of the country's previous ruling family, whom the rebels have been ordered to eliminate at all costs. Waters and his small band of soldiers must weigh the life of one man against their own and the refugees they feel obliged to protect.
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"Tears of the Sun" is a film constructed out of rain, cinematography and the face of bruce willis. These materials are sufficient to build a film almost as good as if there had been a better screenplay. In a case like this, the editor often deserves the credit, for concealing what is not there with the power of what remains.The movie tells the story of a Navy Seals unit that is dropped into a Nigerian civil war zone to airlift four U.S. nationals to safety. They all work at the same mission hospital. The priest and two nuns refuse to leave. The doctor, widow of an American, is also hostile at first ("Get those guns out of my operating room!"), but then she agrees to be saved if she can also bring her patients. She cannot. There is no room on the helicopters for them and finally Lieut. Waters (Bruce Willis) wrestles her aboard.But then he surprises himself. As the chopper circles back over the scene, they see areas already set afire by arriving rebel troops. He cannot quite meet the eyes of the woman, Dr. Lena Hendricks (Monica Bellucci). "Let's turn it around," Willis says. They land, gather about 20 patients who are well enough to walk, and call for the helicopters to return.But he has disobeyed direct orders, his superior will not risk the choppers, and they will all have to walk through the jungle to Cameroon to be rescued. Later, when it is clear Willis' decision has placed his men and mission in jeopardy, one of his men asks, "Why'd you turn it around?" He replies: "When I figure that out, I'll let you know." And later: "It's been so long since I've done a good thing--the right thing." There are some actors who couldn't say that dialogue without risking laughter from the audience. Willis is not one of them. His face smeared with camouflage and glistening with rain, his features as shadowed as Marlon Brando's in "Apocalypse Now," he seems like a dark violent spirit sent to rescue them from one hell, only to lead them into another. If we could fully understand how he does what he does, we would know a great deal about why some actors can carry a role that would destroy others. Casting directors must spend a lot of time thinking about this.The story is very simple, really. Willis and his men must lead the doctor and her patients through the jungle to safety. Rebel troops pursue them. It's a question of who can walk faster or hide better; that's why it's annoying that Dr. Hendricks is constantly telling Waters, "My people have to rest!" Presumably (a) her African patients from this district have some experience at walking long distances through the jungle, and (b) she knows they are being chased by certain death, and can do the math.Until it descends into mindless routine action in the climactic scenes, "Tears of the Sun" is essentially an impressionistic nightmare, directed by Antoine Fuqua, the director who emerged with the Denzel Washington cop picture "Training Day." His cinematographers, Mauro Fiore and Keith Solomon, create a visual world of black-green saturated wetness, often at night, in which characters swim in and out of view as the face of Willis remains their implacable focus point. There are few words; Willis scarcely has 100 in the first hour. It's all about the conflict between a trained professional soldier and his feelings. There is a subtext of attraction between the soldier and the woman doctor (who goes through the entire film without thinking to button the top of her blouse), but it is wisely left as a subtext.This film, in this way, from beginning to end, might have really amounted to something. I intuit "input" from producers, studio executives, story consultants and the like, who found it their duty to dumb it down by cobbling together a conventional action climax. The last half hour of "Tears of the Sun," with its routine gun battles, explosions, machine-gun bursts, is made from off-the-shelf elements. If we can see this sort of close combat done well in a film that is really about it, like Mel Gibson's "We Were Soldiers," why do we have to see it done merely competently, in a movie that is not really about it? Where the screenplay originally intended to go, I cannot say, but it's my guess that at an earlier stage it was more thoughtful and sad, more accepting of the hopelessness of the situation in Africa, where "civil war" has become the polite term for genocide. The movie knows a lot about Africa, lets us see that, then has to pretend it doesn't.Willis, for example, has a scene in the movie where, as a woman approaches a river, he emerges suddenly from beneath the water to grab her, silence her, and tell her he will not hurt her. This scene is laughable, but effective, Laughable, because (a) hiding under the water and breathing through a reed, how can the character know the woman will approach the river at precisely that point? and (b) since he will have to spend the entire mission in the same clothes, is it wise to soak all of his gear when staying dry is an alternative? Yet his face, so fearsome in camouflage, provides him with a sensational entrance and the movie with a sharp shudder of surprise. There is a way in which movies like "Tears of the Sun" can be enjoyed for their very texture. For the few words Willis uses, and the way he uses them. For the intelligence of the woman doctor, whose agenda is not the same as his. For the camaraderie of the Navy Seal unit, which follows its leader even when he follows his conscience instead of orders. For the way the editor, Conrad Buff, creates a minimalist mood in setup scenes of terse understatement; he doesn't hurry, he doesn't linger. If only the filmmakers had been allowed to follow the movie where it wanted to go--into some existential heart of darkness, I suspect--instead of detouring into the suburbs of safe Hollywood convention.Download here
Mummy, The (Action,Adventure,Comedy,Fantasy,Horror)
Death is only the beginning.
Prepare. Beware. Behold.
The legend you know. The adventure you have yet to imagine.
The sands will rise. The heavens will part. The power will be unleashed.
Uncover the secret. Unlock the legend. Unleash the power.
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In ancient Egypt, high priest Imhotep started a forbidden relationship with Anck Su Namun, Pharaoh Seti's Mistress. When Seti finds out about what's going on, Imhotep and his loved one stab him, but can't escape the trustworthy guards: Anck Su Namnun chooses to commit suicide while Imhotep is bestowed with the Hom-Dai, the most feared curse of all: He is mummified alive in Hamunaptra, the city of the Dead. More than thirty-six centuries later, in 1923, to be exact, adventurer Rick leads Egyptologist Evelyn and her brother Johnathan to mysterious Hamunaptra. While Johnathan is keen on finding the legendary Egyptian treasures, Evelyn wants to search for the Book of the Living, which would clarify a lot in historical knowledge about the ancient Egyptians. Unfortunately, they and a rivaling group of careless American adventurers free Imhotep's mummy from his eternal prison. Now, with the ancient and quite agile high priest on the loose, the adventurers and scientists face not only a dangerous enemy, but also a massive threat to today's world: Imhotep wants to bring Ankh-su-namun back to life by using Evelyn's body, but he also wants to rid the world of the disbelieving crowd of democracy-supporters to be able to enforce his tyrannic dictatorship.
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Edge, The (Action,Adventure,Drama,Thriller)
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Billionaire Charles Morse accompanies his supermodel wife Mickey to photo shoot at Alaska. The shoot is to be made by fashion photographer Robert Green. To find specific Indian for the shoot, they fly to even more distant location, where their small plane crashes into a lake. To survive in the woods full of man-killing bears they need each other, but the smarter of the men - Charles is suspicious that Robert is having an affair with his wife.
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Hot Shots! Part Deux (Action,Comedy,War)
Just Deux it.
The mother of all sequels!
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Topper Harley has retired again, now living in a budhist monastery, and again he's asked to lead a special operation into Iraq, to rescue the guys who were sent to rescue the guys who were sent to rescue some prisoners left behind after the Persian Gulf War, where he will meet again with his beloved Ramada while he tries to uncover who the traitor is and kill as many Iraqis as he can.
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There is a love scene in "Hot Shots, Part Deux" in which the hero, a dashing Navy commando played by Charlie Sheen, is dining with a beautiful espionage expert played by Valeria Golino. They are having spaghetti in an Italian restaurant, and somehow they each get one end of a log strand of pasta into their mouths, and suck it in until their faces come closer, and closer . . . and they kiss.This is, of course, a famous shot stolen from "Lady and the Tramp." So is the next shot, in which Sheen lovingly uses his nose to push a meatball in the direction of his lady love. One of the pleasures of watching a spoof like this is to spot the references; it's like a quiz on pop art.The Golina character is named Ramada Rodham Hayman. The other principal female character in the movie, played by Brenda Bakke, is named Michelle Rodham Hudleston. So it goes. The movie is directed by Jim Abrahams, who was one of the perpetrators of "Airplane!" (1980), the satirical parody that spawned this and many other films, including "Top Secret!" "The Naked Gun" and the original "Hot Shots!" The current film takes "Rambo III" as its starting place, with lots of loving little touches. The Sheen character, patterned on the Stallone original, is a pumped-up man of few words, who at the beginning of the film has left his life of action and violence to live a life of contemplation with monks in a remote Eastern land. He is tracked down there by his old commanding officer, played by Richard Crenna in a repeat of his own role in "Rambo III." Sheen wants to stay where he is, until Crenna tells him a story that makes him realize he is needed for a dangerous mission in the Middle East.The story is "Goldilocks and the Three Bears." Sheen, named Topper Harley in the movie, is needed to rescue Americans who were sent in to rescue other Americans who were sent in to rescue other Americans. Why is his participation essential? "You are the best of what we have left!" In the unnamed Arab country, we see a Saddam Hussein look-alike living a life of blissful domesticity, interrupted by moments of mayhem and torture. And we join Sheen on the mission, which is constructed out of countless jokes based on the "Rambo" movies and other commando epics.There are also the usual in-jokes. Proceeding down an Asian river in a gunboat, Sheen passes another boat headed in the opposite direction. On it is his father, Martin Sheen, who starred, of course, in "Apocalypse Now," and is apparently still inside that movie as we see him. "Loved you in `Wall Street'," the father shouts, as the boats pass.Movies like this are more or less impervious to the depredations of movie critics. Either you laugh, or you don't. I laughed. Will this genre ever run out of steam? "Hot Shots Part Deux" doesn't have the high-voltage nonstop comedy of "Airplane!" and "Top Secret!," still the best of their kind, and it isn't as hard on Stallone as it could have been. But as long as the Hollywood assembly lines keep groaning, there will probably be a function for these corrective measures.Download here
Gladiator (Action,Adventure,Drama)
A Hero Will Rise.
On my command - unleash hell
Summer 2000 A.D.
The Gladiator Who Defied An Empire
What We Do In Life Echoes In Eternity.
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Maximus is a powerful Roman general, loved by the people and the aging Emperor, Marcus Aurelius. Before his death, the Emperor chooses Maximus to be his heir over his own son, Commodus, and a power struggle leaves Maximus and his family condemned to death. The powerful general is unable to save his family, and his loss of will allows him to get captured and put into the Gladiator games until he dies. The only desire that fuels him now is the chance to rise to the top so that he will be able to look into the eyes of the man who will feel his revenge.
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M aximus: I'm required to kill--so I kill. That's enough.Proximo: That's enough for the provinces, but not for Rome.A foolish choice in art direction casts a pall over Ridley Scott's "Gladiator" that no swordplay can cut through. The film looks muddy, fuzzy and indistinct. Its colors are mud tones at the drab end of the palette, and it seems to have been filmed on grim and overcast days. This darkness and a lack of detail in the long shots helps obscure shabby special effects (the Colosseum in Rome looks like a model from a computer game), and the characters bring no cheer: They're bitter, vengeful, depressed. By the end of this long film, I would have traded any given gladiatorial victory for just one shot of blue skies. (There are blue skies in the hero's dreams of long-ago happiness, but that proves the point.) The story line is "Rocky" on downers. The hero, a general from Spain named Maximus (Russell Crowe), is a favorite of the dying emperor Marcus Aurelius (Richard Harris). After Maximus defeats the barbarians, Marcus names him protector of Rome. But he is left for dead by Marcus' son, a bitter rival named Commodus (the name comes from the Latin for "convenient" and not what you're thinking).After escaping and finding that his wife and son have been murdered, Maximus finds his way to the deserts of North Africa, where he is sold as a slave to Proximo (the late Oliver Reed), a manager of gladiators. When Commodus lifts his late father's ban on gladiators in Rome, in an attempt to distract the people from hunger and plagues, Maximus slashes his way to the top, and the movie ends, of course, with the Big Fight.This same story could have been rousing entertainment; I have just revisited the wonderful "Raiders of the Lost Ark," which is just as dimwitted but 12 times more fun. But "Gladiator" lacks joy. It employs depression as a substitute for personality, and believes that if the characters are bitter and morose enough, we won't notice how dull they are.Commodus (Joaquin Phoenix) is one of those spoiled, self-indulgent, petulant Roman emperors made famous in the age of great Roman epics, which ended with "Spartacus" (1960). Watching him in his snits, I recalled Peter Ustinov's great Nero in "Quo Vadis" (1951), collecting his tears for posterity in tiny crystal vials. Commodus has unusual vices even for a Caesar; he wants to become the lover of his older sister Lucilla (Connie Nielsen), whose son he is bringing up as his heir.The moral backbone of the story is easily mastered. Commodus wants to be a dictator, but is opposed by the senate, led by Gracchus (Derek Jacobi). The senators want him to provide sewers for the city's Greek district, where the plague is raging, but Commodus decides instead on a season of games. Proximo arrives with his seasoned gladiators from Africa, who prove nearly invincible and threaten the emperor's popularity. The moral lesson: It is good when gladiators slaughter everyone in sight, and then turn over power to the politicians.The Colosseum productions play like professional wrestling. Events are staged to re-create famous battles, and after the visitors wipe out the home team, a puzzled Commodus tells his aide, "My history's a little hazy--but shouldn't the barbarians lose the battle of Carthage?" Later, an announcer literally addresses the crowd in these words: "Caesar is pleased to bring you the only undefeated champion in Roman history--the legendary Titus!" The battle sequences are a pale shadow of the lucidly choreographed swordplay in "Rob Roy" (1995); instead of moves we can follow and strategy we can appreciate, Scott goes for muddled closeups of fearsome but indistinct events. The crowd cheers, although those in the cheaper seats are impossible to see because of the murky special effects.When Maximus wins his first big fight, it's up to Commodus to decide whether he will live or die. "Live! Live!" the fans chant, and Commodus, bowing to their will, signals with a "thumbs up." This demonstrates that Commodus was not paying attention in Caesar School, since the practice at the Colosseum at that time was to close the thumb in the fist to signal life; an extended thumb meant death. Luckily, no one else in the Colosseum knows this, either.Crowe is efficient as Maximus: bearded, taciturn, brooding. His closest friend among the gladiators is played by Djimon Hounsou, who played the passionate slave in "Amistad." Since protocol requires him to speak less than Maximus, he mostly looks ferocious, effectively.Nielsen shows the film's most depth, as the sister. Phoenix is passable as Commodus, but a quirkier actor could have had more fun in the role. Old pros Harris, Jacobi and Reed are reliable; Scott does some fancy editing and a little digital work to fill the gaps left when Reed died during the production."Gladiator" is being hailed by those with short memories as the equal of "Spartacus" and "Ben-Hur." This is more like "Spartacus Lite." Or dark. It's only necessary to think back a few months, to Julie Taymor's "Titus," for a film set in ancient Rome that's immeasurably better to look at. The visual accomplishment of "Titus" shames "Gladiator," and its story is a whole heck of a lot better than the "Gladiator" screenplay, even if Shakespeare didn't make his Titus the only undefeated champion in Roman history.Download here
Smokin' Aces (Action,Crime,Thriller)
Let There Be Blood
May the best hitman win.
Nobody gets away clean.
The hit goes down 2007.
The hit goes down January 26.
The Only Way To Even The Score... Is To Take Buddy Israel Out Of The Game
When you're worth $1 million dead, you don't have long to live.
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An FBI agent (Reynolds) hunts for a Las Vegas stand up comedian (Piven) who has decided to squeal on the mob but, before he heads off for protective custody, decides to go to the casinos at Lake Tahoe for one last good time, drawing a crowd of assassins (including Affleck and Keys).
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Lost in Space (Action,Adventure,Sci-Fi)
Danger Will Robinson!
Get Lost!
Get Ready. Get Set. Get Lost.
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In the near future, earth's fossil resources are about to be used up. In an attempt to save the human race, scientists have begun building a gate, through which faster than light travel will be possible - but only if there is a gate at the destination to receive the travelers. The Robinson Family has been chosen to travel to Alpha Prime - the only other inhabitable planet known - at normal speed, ten years, cryogenically frozen. But Dr. Smith, a sinister man, sabotages their spaceship, Jupiter 2, but is also betrayed by his people. So, he has to work together with the Robinsons in order to survive himself. When Jupiter 2 is falling into the sun, the only chance to survive is to activate the hyperdrive - without a gate at the other end. Soon, the Robinsons are someplace really unknown, where they meet unfriendly silicon-based space spiders, take in a little ape-like creature and name new star systems after Bugs Bunny and Porky Pig. They have to reach Alpha Prime in order to build the second gate, or earth's only hope is gone.
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``Lost in Space'' is a dim-witted shoot-'em-up based on the old (I hesitate to say ``classic'') TV series. It's got cheesy special effects, a muddy visual look, and characters who say obvious things in obvious ways. If it outgrosses the brilliant ``Dark City,'' the previous sci-fi film from the same studio, then audiences must have lost their will to be entertained.The TV series was loosely modeled on the novel The Swiss Family Robinson, about a family shipwrecked far from home and using wit and ingenuity to live off the land. I loved that book, and especially its detailed description of how the family made tools, machines, and a home for themselves, and trained the local animals.The movie doesn't bother with such details. After a space battle that is the predictable curtain-raiser, and a quick explanation of why and how the Robinson family is setting off for a planet called Alpha Prime, the film takes place mostly onboard their saucer-shaped ship, and involves many more space battles, showdowns, struggles, attacks, hyperspace journeys, and exploding planets. In between, the characters plow through creaky dialogue and exhausted relationship problems.Imagine the film that could be made about a family marooned on a distant planet, using what they could salvage from their ship or forage from the environment. That screenplay would take originality, intelligence and thought.``Lost in Space'' is one of those typing-speed jobs where the screenwriter is like a stenographer, rewriting what he's seen at the movies.The story: Earth will not survive another two decades. Alpha Prime is the only other habitable planet mankind has discovered. Prof. John Robinson (William Hurt) and his family have been chosen to go there and construct a hypergate, to match the gate at the earth end. Their journey will involve years of suspended animation, but once the other gate is functioning, humans can zip instantaneously to Alpha Prime.There needs to be a hypergate at both ends, of course, because otherwise there's no telling where a hyperdrive will land you--as the Robinsons soon find out. Also onboard are the professor's wife Maureen (Mimi Rogers), their scientist daughter Judy Robinson (Heather Graham), their younger daughter Penny (Lacey Chabert), and their son Will (Jack Johnson), who is the brains of the outfit. The ship is piloted by ace space cadet Don West (Matt LeBlanc), and includes an intelligent robot who will help with the tasks at the other hand.Oh, and lurking below deck is the evil Dr. Zachary Smith (Gary Oldman), who wants to sabotage the mission, but is trapped onboard when the ship lifts off. So he awakens the Robinsons, after which the ship is thrown off course and seems doomed to fall into the sun.Don West has a brainstorm: They'll use the hyperdrive to zap right through the sun! This strategy of course lands them in a galaxy far, far away, with a sky filled with unfamiliar stars. And then the movie ticks off a series of crises, of which I can enumerate a rebellious robot, an exploding planet, mechanical space spiders, a distracting romance, and family issues of trust and authority.The movie might at least have been more fun to look at if it had been filmed in brighter colors. Director Stephen Hopkins and his cinematographer, Peter Levy, for some reason choose a murky, muted palette. Everything looks like a drab brown suit, or a cheap rotogravure. You want to use some Windex on the screen. And Bruce Broughton's musical score saws away tirelessly with counterfeit excitement. When nothing of interest is happening on the screen, it just makes it worse when the music pretends it cares.Of the performances, what can be said except that William Hurt, Gary Oldman and Mimi Rogers deserve medals for remaining standing? The kids are standard-issue juveniles with straight teeth and good posture. And there is a monkeylike little alien pet who looks as if he comes from a world where all living beings are clones of Felix the Cat. This is the kind of movie that, if it fell into a black hole, you wouldn't be able to tell the difference.Download here
Spartan (Action,Crime,Drama,Thriller)
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A "lone wolf" U.S. government secret agent, Scott( Kilmer), is assigned the task of rescuing the kidnapped daughter (Bell) of a high ranking government figure, only to discover along the way a larger, more sinister plot.
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"Spartan" opens without any credits except its title, but I quickly knew it was written by David Mamet because nobody else hears and writes dialogue the way he does. That the film tells a labyrinthine story of betrayal and deception, a con within a con, also stakes out Mamet territory. But the scope of the picture is larger than Mamet's usual canvas: This is a thriller on a global scale, involving the Secret Service, the FBI, the CIA, the White House, a secret Special Ops unit and Middle Eastern kidnappers.Such a scale could lend itself to one of those big, clunky action machines based on 700-page best sellers that put salesmen to sleep on airplanes. But no. Not with Mamet, who treats his action plot as a framework for a sly, deceptive exercise in the gradual approximation of the truth.Before I get to the plot, let me linger on the dialogue. Most thrillers have simple-minded characters who communicate to each other in primary plot points ("Cover me." "It goes off in 10 minutes." "Who are you working for?") "Spartan" begins by assuming that all of its characters know who they are and what they're doing, and do not need to explain this to us in thriller-talk. They communicate in elliptical shorthand, in shop talk, in trade craft, in oblique references, in shared memories; we can't always believe what they say, and we don't always know that. We get involved in their characters and we even sense their rivalries while the outline of the plot is still murky. How murky we don't even dream.Val Kilmer, in his best performance since "Tombstone," plays a Special Ops officer named Scott, who as the movie opens is doing a field exercise with two trainees: Curtis (Derek Luke), and Jackie Black (Tia Texada). He's called off on assignment after the daughter of the president is kidnapped. The Secret Service was supposed to be guarding her, but ... what went wrong is one of the movie's secrets.Ed O'Neill plays an agent in charge of the search for the daughter, William H. Macy is a political operative from the White House, and it turns out that the daughter, Laura Newton (Kristen Bell), was taken for reasons that are not obvious, by kidnappers you would not guess, who may or may not know she is the president's daughter. Kilmer's assignment: Go anywhere and get her back by any means necessary. Curtis and Jackie want to get involved, too, but Kilmer doesn't want them, which may not be the final word on the subject.And that is quite enough of the plot. It leaves me enjoying the way Mamet, from his earliest plays to his great films like "House of Games," "Wag the Dog," "Homicide" and "The Spanish Prisoner," works like a magician who uses words instead of cards. The patter is always fascinating, and at right angles to the action.He's like a magician who gets you all involved in his story about the King, the Queen and the Jack, while the whole point is that there's a rabbit in your pocket. Some screenwriters study Robert McKee. Mamet studies magic and confidence games. In his plots, the left hand makes a distracting movement, but you're too smart for that, and you quick look over at the right hand to spot the trick, while meanwhile the left hand does the business while still seeming to flap around like a decoy.The particular pleasure of "Spartan" is to watch the characters gradually define themselves and the plot gradually emerge like your face in a steamy mirror. You see the outlines, and then your nose, and then you see that somebody is standing behind you, and then you see it's you -- so who is the guy in the mirror? Work with me here. I'm trying to describe how the movie operates without revealing what it does.William H. Macy, who has been with Mamet since his earliest theater days, is an ideal choice for this kind of work. He always seems like the ordinary guy who is hanging on for retirement. He's got that open, willing face, and the flat, helpful voice with sometimes the little complaint in it, and in "Spartan," he starts out with what looks like a walk-on role (we're thinking David found a part for his old pal) and ends up walking away with it. Val Kilmer, a versatile actor who can be good at almost anything (who else has played Batman and John Holmes?), here plays lean and hard, Sam Jackson style. His character is enormously resourceful with his craft, but becomes extremely puzzled about what he can do safely, and who he can trust. Derek Luke, a rising star with a quiet earnestness that is just right here, disappears for a long stretch and then finds out something remarkable, and Tia Texada, in the Rosario Dawson role, succeeds against all odds in actually playing a woman soldier instead of a sexy actress playing a woman soldier.I like the safe rooms with the charts on the walls, and I like the casual way that spycraft is explained by being used, and the way Mamet keeps pulling the curtain aside to reveal a new stage with a new story. I suppose the last scene in the film will remind some of our friend the deus ex machina, but after reflection, I have decided that, in that place, at that time, what happens is about as likely to happen as anything else, maybe likelier.Download here
Wild Wild West (Action,Comedy,Sci-Fi,Western)
On July 2nd, it's a whole new west.
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Jim West is a guns-a-blazing former Civil War hero. Artemus Gordon is an inventive U.S. Marshal who excels in disguise. When the United States is threatened by psychotic Confederate Arliss Loveless, President Ulysses Grant teams the duo up to bring him to justice. On a hazard-packed train journey from Washington to Utah, West and Gordon must combine their skills to best Loveless and his diabolical machines.
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``Wild Wild West'' is a comedy dead zone. You stare in disbelief as scenes flop and die. The movie is all concept and no content; the elaborate special effects are like watching money burn on the screen. You know something has gone wrong when a story is about two heroes in the Old West, and the last shot is of a mechanical spider riding off into the sunset.Will Smith and Kevin Kline co-star, as special federal agents who are assigned by President U. S. Grant to investigate the disappearance of lots of top scientists. They stumble over a plot to assassinate Grant, by a megalomaniac who wants to give half the country back to Britain and Spain, and keep the rest in the hands of the villain. Salma Hayek, who claims her father is one of the kidnapped geniuses, teams up with them. The bad guy, Dr. Arliss Loveless (Kenneth Branagh), is a mad inventor who makes steam-powered iron tarantulas, which are not very practical in Monument Valley, but who cares? Certainly not anyone in the movie. Smith and Kline have so little chemistry, they seem to be acting in front of rear-projections of each other. They go through the motions, but there's no eye contact. Imagine Bill Clinton and Kenneth Starr as partners in a celebrity golf tournament.The Kline character is said to be a master of disguise, and first appears in drag as a dance hall girl, wearing a false plastic bosom so persuasive that when a real siren turns up later in the movie, her decolletage looks unconvincing by comparison. That doesn't stop Smith from giving her cleavage a few jolly thumps, and then telling a white lynch mob he was simply following the example of his African ancestors, who communicated by pounding on drums--and bosoms, I guess. (In a movie where almost nothing is funny, the race references are painfully lame.) One of the running gags is about how the Kline character can invent almost anything, right on the spot. He rigs a rail car so that it can shoot people into the air, have them fall through openings that appear in the roof, and land in a chair. The rig works in opposition to the first law of motion, but never mind: In a movie where anything can happen, does it matter that anything does? Branagh's character has no body from the waist down, but operates from a clever wheelchair and, later, with mechanical legs. He has weird facial hair and lots of bizarre plans, and an evil general on his payroll who has a miniature ear-trumpet permanently screwed into the side of his face. His gigantic artificial war machines look like they were recycled from ``Star Wars,'' right down to their command posts.There are moments when all artifice fails, and you realize you are regarding desperate actors, trapped on the screen, fully aware they've been left hanging out to dry. Consider an early scene where Will Smith and a sexy girl are embracing in a water tank when the evil general rides into town. Smith is made to watch the action through a knothole, while continuing to make automatic mid-air smooching movements with his lips--as if he doesn't realize he's not still kissing the woman. Uh huh.``Wild Wild West'' is so bad, it violates not one but two rules from Ebert's Bigger Little Movie Glossary. By casting M. Emmet Walsh as the train engineer, it invalidates the Stanton-Walsh Rule, which states that no movie with Harry Dean Stanton or M. Emmet Walsh can be altogether bad. And by featuring Kevin Kline without facial hair, it violates the Kevin Kline Mustache Principle, which observes that Kline wears a mustache in comedies but is cleanshaven in serious roles. Of course, Kline can always appeal on the grounds that although he is cleanshaven in his main role here, he sports facial hair in several of the other roles he plays in the movie. Or perhaps he could use the defense that ``Wild Wild West'' is not a comedy.Download here
Metro (Action,Comedy,Crime,Drama,Thriller)
San Francisco's top police hostage negotiator is about to get more than he ever bargained for.
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Scott Roper is the best hostage negotiator in San Francisco. His girlfriend Veronica "Ronnie" Tate is a newspaper reporter. Scott and Carmen have a dog named Troy. While listening to a baseball game on his car stereo, Scott is called downtown where a man named Earl is holding 17 hostages in a bank. Scott rescues the hostages by shooting Earl. Scott is then assigned a partner -- sharpshooter Kevin McCall. That night, Scott takes his friend, Lieutenant Sam Baffert, to see a man named Michael Korda. Scott waits downstairs while Sam is in Korda's apartment. Sam asks Korda about a man who deals in stolen jewelry, because Sam suspects that some of the dealer's jewels came from Korda, who is a professional jewel thief. Sam's visit with Korda ends with Korda killing Sam. When Scott hears a woman in the building scream at the sight of Sam's body, Scott runs inside the building and sees the body. Scott wants revenge on Korda, but Captain Frank Solis refuses to let Scott work the case, so Scott decides to work the case on his own. Scott and Kevin go to a horse race track, where they win a bundle of money, then they are called to a downtown jewelry store where hostages are being held. When Scott notices that Korda is the hostage taker, Korda grabs a hostage and leaves in a truck. Scott and Kevin use Captain Solis's car to chase Korda. Korda wrecks the truck, and leaves the hostage behind when he gets out of the truck. Korda then boards a trolley car, and Scott and Kevin start chasing the trolley car. While up close, Scott jumps onto the trolley car, leaving Kevin to drive Solis's car. Scott and Kevin manage to stop the trolley car, and they chase Korda into a parking garage, where Korda tries to hit Scott with a car. Scott and Kevin still manage to grab Korda. During visitation at the jail with his cousin Clarence Teal, Korda orders Teal to kill Ronnie as a way to get revenge on Scott. Teal shows up at Ronnie's apartment that night and attacks Ronnie. Scott shows up and chases Teal down the fire escape, and Teal is hit and killed by a car. On the next morning, Korda escapes from the jail, and soon after escaping, Korda kidnaps Ronnie, luring Scott into a confrontation at an abandoned shipyard.
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Pathfinder (Action,Adventure,Drama,Thriller,War)
Two Worlds, One War. The Ultimate Battle Begins.
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A Viking boy is left behind after his clan battles a Native American tribe. Raised within the tribe, he ultimately becomes their savior in a fight against the Norsemen.
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Passenger 57 (Action,Thriller)
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An infamous terrorist has evaded capture for a long time by being extremely clever and ruthless. Things get interesting when he hijacks a plane carrying famous security expert John Cutter, who isn't about to stand this sort of thing.
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`Fled'' is a movie without a brain in its head, and it borrows cheerfully from lots of other movies, but at least it has the integrity to acknowledge its sources. In a set-up sequence, two convicts, chained together, escape from a work gang and plunge through the wilderness. Where should they head? Not for the state line: ``Didn't you see `The Fugitive'?'' one says. ``The first thing Tommy Lee Jones did was set up road blocks at the state line!'' Later, they mention ``Deliverance,'' ``The Godfather'' and ``The Fly.'' The convicts are Piper (Laurence Fishburne), a tough guy who knows his way around, and Dodge (Stephen Baldwin), a computer hacker who shouldn't have been on the chain gang in the first place. As they continue their escape, we learn background details. Dodge stole millions from a corporation that's a front for the Cuban-American Mafia, and now he has a computer disc that both the feds and the crooks want desperately.Chained together, splashing through creeks and sliding over waterfalls, Piper and Dodge remind us of Sidney Poitier and Tony Curtis in Stanley Kramer's ``The Defiant Ones'' (1958). But this isn't going to be a parable about blacks and whites learning to get along. To avoid that possibility, the screenplay manufactures two utterly senseless fights for them. One, in the middle of their escape, takes place in the catch basin of a storm drain--so they can splash a lot, I guess.I was unable to understand why these two desperate characters, who had never met before, being chased by men who want to kill them, would be compelled to pause in their flight to beat each other senseless. At least the screenplay provides them with a durable cliche as a closer. After the fight, Dodge says, ``Now we're even,'' and Piper hits him one more time and says, ``No... NOW we're even.'' When it comes to dialogue, there's nothing like the golden oldies.The movie is sort of a comedy, I guess, although a violent one. Some scenes seem to have wandered over from a ``Naked Gun'' remake. As they're running through the woods, chained together, Dodge complains that he's being jerked around ``like a rag doll,'' and (as helicopters circle overhead and men with guns and dogs march through the woods) gives a little speech about how ``We got to run to the same rhythm!'' Piper, so help me God, pulls out a harmonica and plays a little tune, to establish the rhythm.Scenes like that seem strange in a movie that also includes much shooting, many explosions, cold- blooded murder and a torture sequence in which Dodge is suspended from a ceiling by a man who explains the ``Chinese Death of a Thousand Cuts.'' Judging by the length and depth of the first cut, not many victims make it to 1,000.Other dialogue isn't funny, just awkward. Sample: Gibson (Will Patton), an Atlanta cop who suspects the two guys are being set up, tells a federal marshal, ``I think they're more like pawns than hostages.'' The marshal says, ``And I think you're more like a Hardy Boys mystery than real life.'' And Gibson ripostes, ``And I think you're just spittin' in the wind.'' Such dialogue aside, Patton is very good in the movie, creating a three-dimensional character in the middle of flatland.So, the performances are not to blame. Laurence Fishburne brings an authority to his role that the screenplay doesn't really deserve, and Stephen Baldwin is OK as the hacker, although it would have been entertaining to make him more of a nerd. The picture is good-looking, too, and director Kevin Hooks creates the same kind of flat-out pacing that made his ``Passenger 57'' (1992) fun to watch. But what were they going for here? The tone is all over the map. The movie should have been funnier, or more serious. Instead, whenever ``Fled'' gets something going in either direction, it undermines it.Download here
Austin Powers: The Spy Who Shagged Me (Action,Adventure,Comedy,Fantasy)
Double-O Behave!
First, he fought for the Crown. Now he's fighting for the Family Jewels.
He's back, he's even bigger and he's up for it!
I'm Back, Baby!
If you see only one movie this summer, see Star Wars. But if you see two movies this summer, see Austin Powers: The Spy Who Shagged Me
The BRITISH Empire Strikes Back!
The return of Dr. Evil.
You Were Expecting Someone Else?
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Dr. Evil uses a device he calls a "Time Machine" to travel back to 1969 and remove Austin Powers' mojo. The sexually wounded swinger must travel back in time and, with the help of agent Felicity Shagwell, recover his vitality. Meanwhile, Dr. Evil's personal life runs amok as he discovers love, continues to shun his son and develops a close relationship with himself. Well, actually, a clone 1/8 his size whom he dubs "Mini-Me". The always time-baffled Dr. Evil begins his plan to put a gigantic cannon on the moon, thus turning it into a device called either "The Death Star" or "Alan Parson's Project," depending on which name is available.
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There are some big laughs in "Austin Powers: The Spy Who Shagged Me," but they're separated by uncertain passages of noodling. You can sense it when comedians know they have dead aim and are zeroing in for the kill. You can also sense it when they don't trust their material. The first "Austin Powers" movie burst with confidence: Mike Myers knew he was onto something. This time, too many scenes end on a flat note, like those "Saturday Night Live" sketches that run out of steam before they end. "SNL" cuts to music or commercials; "Austin Powers" cuts to song-and-dance interludes.The key to a lot of the humor in the first film was that Austin Powers had been transported lock, stock and barrel from the '60s to the '90s, where he was a sexist anachronism. The other satirical target was the James Bond series. This second film doesn't want to be a satire so much as just zany, raunchy slapstick."The Spy Who Shagged Me" seems to forget that Austin is a man out of his time; there are few laughs based on the fact that he's 30 years past his sell-by date, and there's so much time travel in this movie that half of the time he's back in the '60s again. Even when he's in the '90s, however, the women seem to take him on his own terms. Myers and his collaborators, flush with the victory of the first film, have forgotten that Austin is a misfit and not a hero.The plot again involves Austin and his arch-enemy, Dr. Evil (both played by Myers). Thirsting for revenge after being exiled into earth orbit, Evil wants to travel through time to when Powers was cryogenically frozen, and steal his mojo. (In case you were wondering, a beaker of mojo looks like Kool-Aid with licorice ropes floating in it.) I didn't use a stopwatch, but my guess is that Evil has more screen time than Austin this time. There are several revelations. Early in the movie, in a funny sequence set on "The Jerry Springer Show," Dr. Evil's son Scott (Seth Green) appears, complaining that he hates his dad. Later a secret of parentage is revealed, "Star Wars"-style. And Evil acquires a midget double named Mini-Me, played by Verne Troyer and inspired, Myers has said, by the miniature Marlon Brando in "The Island of Dr. Moreau." In a film with a lot of babes, Heather Graham plays the lead babe, Felicity Shagwell, a spy dedicated to her craft. In one scene that had the audience cringing when they should have been laughing, she goes to bed with a villain from Scotland named Fat Bastard, who wears a kilt, "weighs a metric ton," and is covered with greasy chicken bits. (Study the end credits for a surprise about the actor playing the F.B.) There were some laughs (but more groans) during a scene where Austin mistakes a fecal brew for coffee; the movie is going for the kind of gross-out humor that distinguished "There's Something About Mary," but what this sequence proves is that the grosser a scene is, the funnier it has to be to get away with it. I saw the movie with an audience recruited from the radio audience of Mancow Muller, Chicago's most cheerful vulgarian, and if they had a mixed reaction, middle America is likely to flee from the theaters.The movie succeeds, however, in topping one of the best elements in the first film, which was when Austin's private parts were obscured by a series of perfectly timed foreground objects. After Dr. Evil blasts off in a phallic spaceship, characters look up in the sky, see what the ship looks like, and begin sentences that are completed by quick cuts to other dialogue. (If I told you the names of some of the people you'd get the idea, but that wouldn't be fair to the movie.) There is an underlying likability to Austin Powers that sort of carries us through the movie. He's such a feckless, joyful swinger that we enjoy his delight. Myers brings a kind of bliss to the Bond lifestyle. I also liked Seth Green as Evil's son, not least because he has obviously studied Ebert's Bigger Little Movie Glossary and knows all about the Fallacy of the Talking Killer. (When Evil gets Powers in his grasp, Evil's son complains, "You never kill him when you have the chance to.") And the movie has fun by addressing the audience directly, as when Austin introduces Burt Bacharach and Elvis Costello, or later observes, during a scene set in the British countryside but shot in the Los Angeles hills, "Funny how England looks in no way like Southern California." Oh, and the tradition of homage to "Beyond the Valley of the Dolls" continues with a bit part for the Russ Meyer superstar Charles Napier.This film obtained a PG-13 rating--depressing evidence of how comfortable with vulgarity American teenagers are presumed to be. Apparently you can drink * * * * just as long as you don't say it.Download here
Golden Child, The (Action,Adventure,Comedy,Fantasy,Mystery)
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Eddie Murphy plays a detective with a speciality of finding lost children. He is told he is the 'Chosen one' who will find and protect the Golden Child, a Bhuddist mystic who was kidnapped by an evil sorcerer. Murphy disbelieves the mysticism but finds more and more evidence of demon worship as he investigates.
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Cabin Pressure (Action,Adventure,Drama,Thriller)
What do you do when time is your enemy?
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A fully automated commercial jetliner is prepared to make its maiden voyage. Without an on-flight pilot, the craft relies on satellite linking for its course. But when the plane suddenly deviates from its determined route and establishes a circular pattern over Seattle, it becomes evident that the craft has been hijacked by a disgruntled former airline employee who has hacked into the flight's computer system from his apartment, somewhere in the United States. Now, a former discredited Navy pilot and an oddball technician must race against the clock to find where the angry employee is, and regain control of the plane before it crashes into the city.
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