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Movie Reviews and Ratings

Ted Faraone

By

2008/09/22 at 12:00am

Nights in Rodanthe

09.22.2008 | By |

Rated: PG-13 for some sensuality.
Release Date: 2008-09-26
Starring: Ann Peacock, John Romano, Nicholas Sparks (novela)
Director(s):
Distributor:
Film Genre:
Country: USA, Australia
Official Website: http://nightsinrodanthe.warnerbros.com/

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Nights in Rodanthe

“Nights in Rodanthe” could have been a world class chick flick on the order of “Now Voyager.”  It has everything going for it:  Beautiful photography, a tear-jerker plot, and a great cast.  Instead it barely makes the “Lifetime Original Movie” cut.  The adaptation of Nicholas Sparks’ eponymous novel (by Ann Peacock and John Romano) squeezes every moment of angst and despair until the audience cries “uncle.”
 
Diane Lane as Adrienne Willis, mother of two, separating from womanizing Jack (Chris Meloni), delivers a nuanced performance that aspires to Vanessa Redgrave’s territory.  Richard Gere as middle-aged Dr. Paul Flanner neatly captures the emotional disconnection, impatience, and intellectual arrogance of many successful careerists.  Viola Davis (Jean) as Adrienne’s sexy best friend steals her every scene.  Lensing by Affonso Beato is top notch, and a hurricane, which marks pic’s turning point, is so real that one wants to run for higher ground.
 
A coincidence puts Adrienne and Paul together as sole residents of a beachfront inn on the island of Rodanthe on the outer banks of North Carolina.  Adrienne gave up a promising career as an artist to marry Jack.  Paul abandoned surgery after losing a patient on the table.  He’s at the inn because of a summons to the island from the dead patient’s husband (Ted Manson).  She’s there because she promised to spell Jean, who is off to Miami.  His family has fallen apart.  Hers is in danger of doing so.  The pair fall for each other.  Paul heads to South America to re-connect with his son, a physician, who runs a clinic for the poor – after a contrived emotional showdown with Adrienne over his handling of the widower.
 
The rest of the story is told through love letters and another contrived scene:  Paul misses a dinner date with Adrienne on his return from South America.  The next morning she answers her door to find Paul’s son (James Franco) with a box of his dad’s belongings.  Franco’s voiceover of sepia tinted scenes of dad working with him in the mountain clinic (culminating in a fatal mudslide) could have ended the flick.  Instead, it goes on for another agonizing reel, in which Adrienne’s despair is milked dry.  Blame helmer George C. Wolfe and editor Brian A. Kates.  Not even Lane can lift the platitudinous dénouement off the ground.  All main characters are redeemed, but at what a cost!  And it is borne by the audience.
 
But wait!  There’s more!  A final scene appears to have been tacked on in the interest of a happy ending.  It is set up by a couple of script references to wild horses on Rodanthe.  They appear not a moment too soon.
 
The 97 minute Warner Bros. release carries a PG-13 rating due to some sexual content.

Mack Chico

By

2008/09/19 at 12:00am

Lakeview Terrace

09.19.2008 | By |

Rated: PG-13 for intense thematic material, violence, sexuality, language and some drug references.
Release Date: 2008-09-19
Starring: David Loughery, Howard Korder
Director(s):
Distributor:
Film Genre:
Country: USA
Official Website: http://www.sonypictures.com/movies/lakeviewterrace/

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Lakeview Terrace

Lakeview Terrace is the latest thriller from Neil LaBute. LaBute began his filmmaking career with the scathing In the Company of Men, but his previous effort was the deservedly reviled remake of The Wicker Man. While Lakeview Terrace isn’t as horrendous as The Wicker Man, it’s nowhere close to the level LaBute attained with his debut. The first two-thirds of Lakeview Terrace offer a little more subtlety and complexity than the seemingly straightforward premise would afford, but the climax is loud, dumb, generic, and over-the-top. Those hoping for something more interesting will be disappointed by the level to which the filmmaker stoops to get an unearned visceral rush. In pandering to Hollywood standards about how stories like this should unfold, LaBute has lost his edge.

The story goes like this: a young couple (Patrick Wilson and Kerry Washington) has just moved into their California dream home when they become the target of their next-door neighbor, who disapproves of their interracial relationship. A stern, single father, this tightly wound LAPD officer (Samuel L. Jackson) has appointed himself the watchdog of the neighborhood. His nightly foot patrols and overly watchful eyes bring comfort to some, but he becomes increasingly harassing to the newlyweds. These persistent intrusions into their lives ultimately turn tragic when the couple decides to fight back.

The film’s last fifteen minutes are so over-the-top that they’re almost impossible to take seriously and Abel’s motivation during a critical sequence near the conclusion is difficult to fathom. It’s the kind of thing that results from a screenwriter not knowing how to end a movie. Considering that the screenwriter in question is David Loughery, the man who was in part responsible for Star Trek V: The Final Frontier, perhaps this shouldn’t be surprising. Meanwhile, Patrick Wilson and Kerry Washington are okay as the couple in the crossfire but, in comparison to Jackson, they’re boring. That’s the problem with sharing the screen with a man who’s a force of nature.

There are times when Lakeview Terrace seems to be striving for something more interesting than the basic “cop from hell” movie, but any pretensions it may have of escaping this orbit come crashing down as the script veers more and more into generic territory. Going in, you might think you know how it’s going to end, and you’d probably be right. If LaBute sews some doubts along the way, it’s a testament to the way the first half of the film is constructed. It’s too bad the movie’s moderately intriguing qualities are buried under the final half-hour’s avalanche of predictability.

Mack Chico

By

2008/09/19 at 12:00am

Ghost Town

09.19.2008 | By |

Rated: PG-13 for for some strong language, sexual humor and drug references.
Release Date: 2008-09-19
Starring: David Koepp, John Kamps
Director(s):
Distributor:
Film Genre:
Country: USA
Official Website: http://www.ghosttownmovie.com/

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Ghost Town

Ghost Town is one of those romantic comedies that never quite clicks. At times, its humor is effective, provoking chuckles and laughs. At other times, the comedy feels forced and awkward. The romantic element is equally hit-and-miss. The chemistry that emerges between the leads during the film’s second half is largely absent from the first 45 minutes. And the premise, rich with promise and pregnant with possibilities, is reduced to a plot device that allows Ghost Town to turn into a low-rent, modern-day version of A Christmas Carol.

The movie’s opening scene is a winner, with philanderer Frank Herlihy (Greg Kinnear) having a phone conversation with his wife, Gwen (Téa Leoni), who has just discovered he’s having an affair. Frank wraps up the call just as the curtain falls on his time on Earth. Director David Koepp orchestrates his end brilliantly, with a sleight-of-hand that is both funny and surprising. However, instead of making his way to the next life, Frank finds himself stuck in Manhattan as a ghost. He can see and hear everything, but is invisible and unable to do more than observe. Enter Bertram Pincus, D.D.S. (Ricky Gervais), the most unpleasant dentist in the city.

Ghost Town’s comedy is maddeningly inconsistent. Masterful sequences such as the opening one in which Frank meets his demise are interspersed with episodes that not only don’t work on a comedic level, but run on for too long. Consider, for example, an interchange between Bertram and his doctor (played by Kristen Wiig) in which both continuously interrupt each other. Like a bad, unfunny segment of Saturday Night Live, this drags on seemingly without end, becoming increasingly frustrating with every new interruption. Comedy is supposed to be funny, not annoying.

Those who take a glass half-full approach to Ghost Town will probably enjoy it the most. There is romance, there is comedy, and there is a feel-good ending. For some, those things will be enough, and the fact that they’re not as well developed or effectively nurtured as they might be will not be a significant detraction. Ultimately, however, the movie cries out for an offbeat approach such as the one Marc Forster utilized in Stranger than Fiction. Ghost Town’s unwillingness to escape from a safe orbit keeps the movie trapped in mediocrity.

Mack Chico

By

2008/09/17 at 12:00am

Diego Luna at the JC Chavez premiere in Los Angeles

09.17.2008 | By |

Diego Luna at the JC Chavez premiere in Los Angeles

ESPN Deportes sponsored a special screening of JC Chavez, Diego Luna’s directorial debut at the Los Angeles Latino International Film Festival (LALIFF), on Monday, September 15, 2008 at the Mann Chinese 6 Theater in Hollywood, California. The film recounts the struggle and success of Julio Cesar Chavez, a national hero from humble beginnings in Culiacan, Mexico to the ultimate boxing superstar.
 
ESPN Deportes and ESPN Classic will premiere JC Chavez on Saturday, September 27 at 10:00 p.m. EST/ 7:00 p.m. PST as part of the network’s Hispanic Heritage Month programming line-up.  The film will also be available on DVD starting September 30 for an SRP of $19.95, distributed by ESPN Home Entertainment. In addition, Netflix will offer the film for digital download.

 

Diego en el Festival Internacional de Cine Latino de Los Angeles (LALIFF)

In pic: Eric Conrad, Director of Programming and Acquisitions ESPN Deportes, Gerardo Quirama, Associated Manager Strategic Programming Planning ESPN Deportes and Diego Luna, Director of JC Chavez.

 

Mack Chico

By

2008/09/17 at 12:00am

Appaloosa (Movie Review)

09.17.2008 | By |

Appaloosa, based on the book by Bostonian writer Robert B. Parker, is not your Clint Eastwood western. It is unconventional, caustic, and dare I say, peculiar. Ed Harris, who directed, co-wrote and stars in the film missed an opportunity at creating an Oscar worthy film, if only he would have altered the novel’s story a bit.

The plot is about ruthless rancher, Bragg (Jeremy Irons), and his gang who shoot up the town of Appaloosa whenever they get the urge.  When three of the hired hands kill a man and rape his wife, the local marshal goes out to Bragg’s ranch and gets gunned down in cold blood. Virgil Cole (Ed Harris) and Everett Hitch (Viggo Mortensen) are the exact problem solvers the town needs since they are “policemen” who do the dirty work no one else will do. The city aldermen hire them to bring Bragg to heel. Cole agrees to the job, and so the war begins. Somewhere along the way Cole falls in love with a harlot piano player (Renée Zellwegger) and tensions begin to flare amongst the men.

Overall, Appaloosa is not a bad movie, but just like the book, it was not laid out coherently. There are moments when you do not understand the character’s decision making, thus, making you question the entertainment value.

Nevertheless, the film’s best trait is the back and forth dialogue between Mortensen and Harris, and in some instances, Irons. The acting is sincerely superb, with the exception of Ms. Zellwegger, who just like in Clooney’s ‘Leatherheads’, brings the movie to a low. In addition, she has not been looking her best these days and is evident in close ups. I wonder if Harris has something against her, because there were a bevy of those. Coincidently, one of Parker’s most used (debatably over-used) themes is that of a good man loving a bad, feeble woman, one that Harris obviously agrees with. While juggling that theme with the war against Bragg, something does get lost. A little disinterest kicks in, as well as wariness.

Thankfully, Viggo’s presence, appearance and demeanor make up for the brief incongruous periods. To be frank, if the film dealt more with Hitch than Cole we could be talking about an Oscar candidate for best picture and actor for Mortensen. If only Harris would have adapted the novel rather than be so faithful to the book.

Mack Chico

By

2008/09/16 at 12:00am

Frank Mundus, 82, Dies; Inspired ‘Jaws’

09.16.2008 | By |

Frank Mundus, 82, Dies; Inspired ‘Jaws’

Frank Mundus, the hulking Long Island shark fisherman who was widely considered the inspiration for Captain Quint, the steely-eyed, grimly obsessed shark hunter in “Jaws,” died on Wednesday in Honolulu. He was 82 and lived on a small lemon-tree farm in Naalehu, on the southern tip of the Big Island of Hawaii, 2,000 feet above shark level.

The cause was a heart attack, his wife, Jeanette, said.

Mr. Mundus and his wife moved from Montauk, on the South Fork of Long Island, to Hawaii in 1991, but often returned to Long Island in summer, when tourists and city-slicker enthusiasts sought to spice vacations with a shark hunt, priced at $1,800 for a party of five.

On just such a venture in August 2007, the tail of a nine-foot thresher shark splashing off the stern of his 42-foot boat, the Cricket II, slapped Mr. Mundus and sent him reeling. He struck right back, planting his gaff — a giant fish hook on a pole — in the shark’s back and hauling it aboard.

Mr. Mundus had run charter boats from the docks of Montauk since 1951, taking fishermen out for easy-to-catch mackerel and fighting bluefish. But one night in the 1950s, according to one of his accounts, sharks outnumbered the blues and in the ensuing struggle a shark was snared. The next day Mr. Mundus posted a sign by his boat: “Monster Fishing.”

Mr. Mundus inevitably became known as Monster Man, and he looked the part, with his safari hat, a diamond-studded gold earring, a jewel-handled dagger with a shark-tooth blade, and the big toe of one foot painted green and the other red, for port and starboard.

His most fateful encounter with a shark came one day in 1964, when Mr. Mundus already had two sharks hanging on the side of his boat and a third on the hook. Then he spotted a huge one alongside.

“I harpooned him and he took off for the horizon,” he told The Daily News in 1977. “Before I got him, I harpooned him five times. A white shark. A killer. He was 17 ½ feet long and 13 feet in girth and weighed at least 4,500 pounds. The biggest ever caught.”

The legend grew, and in the next few years, he repeatedly took Peter Benchley, who wrote the best seller “Jaws,” out to sea.

Mr. Mundus told a New York Times reporter that Mr. Benchley loved the way he harpooned huge sharks with lines attached to barrels to track them while they ran to exhaustion.

In 1975, “Jaws” was turned into Steven Spielberg’s blockbuster movie, which for years left millions of beachgoers toe-deep in the sand. Robert Shaw played Quint, who exits by sliding feet first into the belly of a monster great white.

Mr. Benchley, who died in 2006, denied that Mr. Mundus had been the inspiration for Quint, whom he described as a composite character.

Clearly irked, Mr. Mundus said: “If he just would have thanked me, my business would have increased. Everything he wrote was true, except I didn’t get eaten by the big shark. I dragged him in.”

In 1986, Mr. Mundus dragged in a 17-foot-long, 3,427-pound great white — not by harpoon, but by rod and reel, quite a feat for a man with a withered left arm.

Frank Louis Mundus was born in Long Branch, N.J., on Oct. 21, 1925, a son of Anthony and Christine Brug Mundus. He broke his arm as child and a bone-marrow infection set in, leaving that arm shorter than the other. By then, the family had moved to Brooklyn, where Mr. Mundus’s father found work as a steamfitter and his mother ran a boarding house. Doctors told Mr. Mundus’s parents that they should take him to the beach to swim to build strength in his arm.

“He fell in love with the ocean,” his wife said.

Besides his wife, the former Jeanette Hughes, whom he married in 1988, Mr. Mundus is survived by his sister, Christine Zenchak; three daughters from a first marriage, Barbara Crowley, Theresa Greene and Patricia Mundus; five grandchildren; and five great-grandchildren. His first marriage, to Janet Probasco, ended in divorce.

Mr. Mundus dropped out of high school and got a job as a freight handler. Soon after, however, the pull of the sea had him working on charter boats for $3 a day. By 1951, he had his own boat, the Cricket, and was sailing out of Montauk Harbor. He named his boats after Jiminy Cricket because people told him that with his sloping forehead and Roman nose, his profile looked like the character in the film “Pinocchio.” Although Mr. Mundus caught hundreds of sharks during his career, he became something of a conservationist in later years. He promoted the use of circle hooks, which catch in the jaw, not the gut, increasing a shark’s chances of survival if it escapes or is released. He also helped start a shark-tagging program and voiced support for catch-and-release fishing.

As it turns out, Mr. Mundus did not think much of “Jaws.”

“It was the funniest and the stupidest movie I’ve ever seen, because too many stupid things happened in it,” his Web site says. “For instance, no shark can pull a boat backwards at a fast speed with a light line and stern cleats that are only held in there by two bolts.”

Mack Chico

By

2008/09/14 at 12:00am

"Burn After Reading" burns the competition

09.14.2008 | By |

"Burn After Reading" burns the competition

After several straight super-slow weekends, the box office has gotten fired up. Defying many projections, Brad Pitt and George Clooney’s comedy Burn After Reading led a team of four major new releases to generally better-than-expected performances, boosting the cumulative theatrical take by nearly 34 percent over the same frame a year ago.

Blazing the trail was Burn After Reading, which banked an impressive $19.4 mil, according to Sunday’s estimates. That’s the best debut ever, by far, for filmmaking brothers Joel and Ethan Coen: Of their 13 previous movies, only 2004’s The Ladykillers ($12.6 mil debut) and 2003’s Intolerable Cruelty ($12.5 mil bow) even premiered north of $10 mil. The opening sum was also good news for Pitt and Clooney, neither of whom has had such a big, non-Ocean’s opening in several years. To find one, you have to go back to 2005’s Mr. & Mrs. Smith for Pitt and to, gosh, 2000’s The Perfect Storm for Clooney — although, to be fair, both actors tend to make a lot of small-release indie flicks.

For the Coens, it’s a sweet follow-up to their Best Picture winner, No Country for Old Men, which also wound up their top total grosser, with $74.3 mil. Can Burn After Reading do as well? It’ll be a challenge, considering the movie’s merely moderate reviews and a fall box office slate that’s only going to get more crowded. Still, this is a nice start.

Tyler Perry’s The Family That Preys (No. 2) was next, with $18 mil. Though down a tick from the consistent $20 mil-plus bows of most of Perry’s movies, The Family That Preys did well considering that it wasn’t based on one of the auteur’s popular stage productions. Also welcome: That solid A CinemaScore review from audiences, who tend to abandon Perry’s films after the first weekend. Perhaps they’ll show this one more love in the long run.

Close behind at No. 3 was Righteous Kill, the Robert De Niro-Al Pacino reunion, which grossed a solid $16.5 mil. That’s the biggest non-franchise premiere for these two actors in ages, as well: De Niro’s Hide and Seek bowed to $22 mil in 2005, and Pacino’s The Recruit premiered with $16.3 mil in 2003.

As expected, the weekend’s other big opener, The Women (No. 4), fared worst, banking just $10.1 mil in nearly 3,000 theaters, though I suppose that sum could have been a lot lower. In actual fact, that’s Meg Ryan‘s best bow in — gasp! — almost a decade. Four-week holdover The House Bunny brought in $4.3 mil to round out the top five. Tropic Thunder (No. 6 with $4.2 mil) jumped the $100 mil mark, as did Step Brothers and The Mummy: Tomb of the Dragon Emperor. And in art houses, Alan Ball’s controversial race/sex drama Towelhead enjoyed a nice $13,250 debut average in four locations.

Overall, the increased box office revenues were truly welcome; this was the first ”up” weekend in nearly two months. And that Hollywood was able to achieve some success without the help of Batman, well, hey, that’s even better.

Mack Chico

By

2008/09/13 at 12:00am

‘Burn After Reading’ – 7 clips from the movie

09.13.2008 | By |

'Burn After Reading' - 7 clips from the movie

We bring you 8 scenes to see from the Coen Brothers new film comedy thriller, Burn After Reading starring Clooney, Pitt, McDormand, Sledge Hammer (remember him?) and Malkovich. Here is your chance to see if their dark comedy is your cup of tea. Click on the video and decide if it’s for you.

Basically, the premise is A dark spy-comedy about an ousted CIA official’s (Academy Award nominee John Malkovich) memoir accidentally falls into the hands of two unwise gym employees (Pitt and McDormand AA winners too) intent on exploiting their find.

Also, if you would like to se our film review, and check out the 5 posters of the film along with a bevy of photos, video and more, click here.

Mack Chico

By

2008/09/12 at 12:00am

Righteous Kill

09.12.2008 | By |

Rated: R for violence, pervasive language, some sexuality and brief drug use.
Release Date: 2008-09-12
Starring: Russell Gewirtz
Director(s):
Distributor:
Film Genre:
Country: USA
Official Website: http://www.righteouskill-themovie.com/

Go to our film page

Righteous Kill

Jon Avnet’s new film ‘Righteous Kill’ reunites legendary actors Robert De Niro and Al Pacino. Both actors flood the screen with their trademark acting styles and larger than life personalities, and convert what is an ordinary police thriller into a surprisingly entertaining cop romp.

The premise has the Lennon and McCartney of detectives (Pacino and De Niro) hot on the trail of a serial killer who might end up being one of their own. Some tension is developed by two younger investigators (John Leguizamo and Donnie Wahlberg) who want to crack the case before the seniors do.

The film offers some believable acting from the supporting cast, but nothing outstanding to make you begin your Oscar nomination pool. Leguizamo seems to play the same wise cracking cop in every movie and Wahlberg just seems to be happy to be working. Underrated is Carla Gugino, De Niro’s love interest, who continues to deliver consistently fine work. The director Jon Avnet, who gave us one of Pacino’s worst efforts, 88 Minutes, doesn’t offer us anything new here. Screenwriter Russell Gewirtz, who did Spike Lee’s Inside Man, one of the better films of the cop genre in the last five years, regresses with this hit and miss script and dialogue.

De Niro and Pacino are no longer the multi-layered, method acting thespians with depth, but they still possess enough of that charm, wisdom and experience to know how to carry a movie, ergo ‘Righteous Kill’. Together it becomes memorable and nostalgic.

It wasn’t so long ago that whenever someone asked who the best actor in Hollywood was, the answer was either Al Pacino or Robert De Niro. That is no longer the case. The best way to put it I guess, is that we are still looking for that last performance of greatness from them, that last attempt to prove all us critics wrong, that last hurrah for ol’ time sakes. Regrettably, this movie wasn’t the one to make us believe that.

Jack Rico

By

2008/09/11 at 12:00am

Righteous Kill – photos from the red carpet premiere!

09.11.2008 | By |

Righteous Kill - photos from the red carpet premiere!

Robert De Niro and Al Pacino arrived at the New York red carpet premiere of their new film ‘Righteous Kill‘ at the renown Ziegfeld Theater in Manhattan. The two superstars and iconic figures posed for what seemed hours to the hysterical paparazzi. Colombian actor John Leguizamo was in hand along with director Jon Avnet. Donnie Wahlberg, member of the newly reunited New Kids On the Block, took time out of his world tour to attend as well.

The films premise revolves around two teteran New York City police detectives on the trail of a vigilante serial killer in the adrenaline fueled psychological thriller Righteous Kill, directed by Jon Avnet (Red Corner, Fried Green Tomatoes) and written by Russell Gewirtz (Inside Man). The cast also features hip-hop superstar Curtis “50 Cent” Jackson (Get Rich or Die Tryin’).

To see more pics from the premiere and the film, click here.

 

Righteous Kill NY Premiere 1

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