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The Latest in ShowBiz News

Terry Kim

By

2009/11/09 at 12:00am

Pirate Radio

11.9.2009 | By |

Pirate Radio

If you are fan of the 60s, and especially of 60s pop and rock music, then Pirate Radio is a must-see. There are more than fifty songs on the soundtrack, boasting familiar tunes by The Kinks, The Rolling Stones, and The Beach Boys, to name a few. The movie was written and directed by Richard Curtis—most well-known as the screenwriter of Four Weddings and a Funeral and for writing and directing the charming Christmas flick, Love Actually—who displayed his talent for quirky characterization again. It’s hard not to love the crew aboard Radio Rock: the American DJ who identifies himself as “The Count” (Philip Seymour Hoffman), the popular Gavin (Rhys Ifans), “Nutty” Angus (Rhys Darby), “Doctor” Dave (Nick Frost), Thick Kevin (Tom Brooke), Felicity (Katherine Parkinson), Simon (Chris O’Dowd), News John (Will Adamsdale), “Midnight Mark” (Tom Wisdom), mysterious Bob (Ralph Brown), Harold (Ike Hamilton), the newest member, young Carl (Tom Sturridge), and the captain responsible for them all, Quentin (Bill Nighy).

 

Days aboard Radio Rock feel like mere minutes as the crew/DJs takes part in the mantra of the 60s, “sex, drugs, and rock and roll.” On the other hand, certain individuals in the British government, namely Twatt (Jack Davenport) and Sir Dormandy (Kenneth Branagh), spend all their days and nights coming up with more laws to spoil Radio Rock’s chances of promoting their music and joie de vivre to the British public. If Radio Rock’s members are less concerned with personal hygiene and display so-called loose morals, Twatt and Sir Dormandy pout stiff upper lips and sport clean-shaven looks at all times. It proves difficult to bring the Rock cheer down: for every clever deterrant the Twatt-Dormandy team concocts, the rebellious crew conjures up another loophole. In fact, the crew even wavers on the brink of death, and still, this is not a challenge that cannot be overcome. Here, The Beatles’ famous line, “All you need is love” cannot be more relevant; love for music, that is.

 

You may be won over by the characters and music, but the movie’s fairytale-like progression is not as endearing. The camaraderie aboard the ship may be a touch too idealistic. One would like to believe that after a shipmate sleeps with your wife (of only seventeen hours) “to forgive and forget” is not as simple as it sounds. And not to mention young Carl’s revelation that his long-lost father is scruffy, bearded Bob is brought up, and then dismissed almost as an afterthought. It’s a hard-knock life in the rock and roll world, but when all that is displayed is love, loyalty, and too-willing sacrifice for the aforementioned virtues, the pirate rock world is transformed into Peter Pan and the Lost Boys in Neverland.

Karen Posada

By

2009/11/09 at 12:00am

2012

11.9.2009 | By |

2012

If you’ve seen the movie “The Day After Tomorrow” by the same director Roland Emmerich then you’ve seen most of “2012”. It is definitely what one expects after seeing the preview, a movie that has a lot of entertainment value because it is action packed, there is not much more to take from it.
 
Emmerich seems to be stuck in the same genre with the last couple of movies he’s made, movies about the apocalyptic end of the world, this one just adds to that agenda. Not only do they develop a similar plot but the characters also seem to be the same just played by different actors. The movie which lasts 2hrs and 35minutes has a slow beginning and then slowly builds up to the earth cracking and the world sinking in, to comply with a myth from the Mayan calendar about the end of the world. Putting the Mayan calendar into play gives it a good backbone but it is barely discussed in the film, giving a little more thought into it would have made the film less surreal and the ending less utopical and carefree.

 

Our hero John Cusack (Jackson Curtis) was perfect for the role; he delivers every time and seems to be in control despite of the world falling around him. He is in charge of saving his family and what remains of the human race. Jackson is part of the broken family on which the film mainly focuses on; despite of the length of the film there’s not a real connection between these main characters. Amanda Peet (Kate Curtis) fails to convince me of her role as a caring mother. Chiwetel Ejiofor (Adrian Helmsley) who plays the all knowing scientist is pretty believable and takes on the role of leader with ease.
 
Emmerich wanted to make a film to entertain the audience and it does. The movie doesn’t drag but the fact that the world is ending and these few people are smarter than anyone else and are able to surpass a lot of the obstacles, made the film to me ridiculous to the point that I was laughing on scenes that I’m pretty sure I wasn’t supposed to. If you still want to see the movie it might be best to watch it in the movie theater to appreciate the special effects, otherwise save yourself the money and rent any of Emmerich’s latest films.

Namreta Kumar

By

2009/11/06 at 12:00am

A Christmas Carol

11.6.2009 | By |

A Christmas Carol

Every Christmas season we get hit with a multitude of holiday cheer films and every so often that film happens to be a new rendition of A Christmas Carol, so why is this one a cut above the rest? It’s not just because it’s in 3D this time, or because of Jim Carrey’s score of excellent performances, or just because of the cinematography, but because of the wonderment that everyone feels when they leave.

Director Robert Zemeckis previous Christmas classic, The Polar Express, captured audiences with its spectacular 3D animation and classic narrative. And his renewed effort with A Christmas Carol carries that same magic forward with the added Disney spark. From the first scene to the last, every detail is crafted into the cinematography and art that pops forward and engages all audiences.

Jim Carrey’s many roles weave magic similar to that of genie. They melt seamlessly into one another and what comes through is just the Christmas magic that every Dickens fan wants to see. Carrey guides the audience from Ebenezer’s horrifying first moments to his reformed spirit with thrill, excitement, and an ease of sympathy and empathy.

Robert Zemeckis crafts nearly every detail before your eyes and creates a storybook wonder for every age. He brings Charles Dickens classic tale to life in this aesthetically pleasing Christmas production. The magic of the Christmas season seems to begin when you watch this production.

Jack Rico

By

2009/11/06 at 12:00am

The Box

11.6.2009 | By |

The Box

With such a simple title, how can ‘The Box’ end up being so convoluted? Thank director/writer Richard Kelly (the mastermind behind Southland Tales, one of the worst movies I’ve ever seen) for that costly gaffe. This film had the promise to be exceptional, marked by its beginning and ending, but the middle wrapped itself in tangled conundrums and it never managed to fully correct itself.

Norma and Arthur Lewis (Cameron Diaz and James Marsden), a suburban couple with a young child, receive a simple wooden box as a gift, which bears fatal and irrevocable consequences. A mysterious stranger (Frank Langella), delivers the message that the box promises to bestow upon its owner $1 million with the press of a button. But, pressing this button will simultaneously cause the death of another human being somewhere in the world; someone they don’t know. With just 24 hours to have the box in their possession, Norma and Arthur find themselves in the cross-hairs of a startling moral dilemma and must face the true nature of their humanity.

The message at its core is the avarice of men and how its implications will set off the cataclysmic genocide of mankind. This deep philosophical notion was not told well by Kelly. I don’t mind a mental challenge while at the movies, but at least provide me with some clarirty while you tell it. His adapted script is based on the short story ‘Button, Button’ from legendary fantasy writer Richard Matheson (I Am Legend, What Dreams May Come) and it is quite seductive and full of intrigue. Kelly’s version had the chance to be just as good if it weren’t for the occasional hiccups.

On the other hand, Ms. Diaz, of cuban ancestors, and Mr. Marsden (Enchanted, 27 Dresses) did a wonderful job of deciphering the jumbled script to give, in my opinion, strong and compelling performances. Marsden, in particular, is good every time out. Even in family fare such as ‘Enchanted’ (he was hilarious in it), Marsden can be proud of his work. Unfortunately, Langella just didn’t have enough to work from here.

Was it suspenseful? Yes. Was it interesting and compelling? Yes. Did it get so incoherent that it irrevocably lost me? Yes to that! Enjoy the film if you so choose, but remember, you’re also paying more than you should for it. It is not a bad film, but wait, wait, wait for it on DVD. 

Jack Rico

By

2009/11/06 at 12:00am

The Fourth Kind

11.6.2009 | By |

The Fourth Kind

The Fourth Kind has many a scares, but it feels more like a made-for-tv movie than anything else. That doesn’t make it bad, it just makes the decision to wait for it on DVD that much easier. 

 

The film, based on ‘real events’ and shot juxtaposing documentary and reenactment footage, is a good thrill… for a few minutes. The film’s publicity and marketing material suggest that The Fourth Kind is based on actual occurrences , but the reality is that this is as “based on a true story” as Fargo was (not at all). It’s all part of a backstory that extends beyond the screen. The director, Olantunde Osunsanmi, purports include “real” footage of unexplained phenomenon that transpired in Nome, Alaska during the early years of the 21st century, but there are plenty of clues both in the footage and outside of it that debunk its veracity. One doesn’t need to be aware that no one named Abbey Tyler practiced psychology in Alaska to know this woman is not real. The makeup applied to her face during her “interviews” is not convincing and the unidentified actress playing Abbey may cause pause even for those who want to buy what Osunsanmi is selling.

 

Although it’s fascinating to dissect the movie on an intellectual level and examine what pieces and structural choices work and don’t work, I’m sure that’s not how the filmmakers intended their production to be approached. On a purely narrative level, The Fourth Kind offers the occasional “boo!” moment but is too tame (consider the PG-13 rating) to generate any lasting horror and too contrived to work on a dramatic level. The best thing I can say about it is at least it’s not another Asian horror remake.

Terry Kim

By

2009/11/05 at 12:00am

The Men Who Stare at Goats

11.5.2009 | By |

The Men Who Stare at Goats

The Men Who Stare at Goats is based on a book by Jon Ronson of the same title, and judging by his track record—Ronson wrote books with titles like Out of the Ordinary: True Tales of Everyday Craziness and Them: Adventures With Extremists—it isn’t surprising that Heslov’s movie is an hour and a half of paranormal activity (or something like it) inside the U.S. Military. Bob Wilton (played by Ewan McGregor), at first searching for a way out of his heartbreak (his wife and college sweetheart leaves him for his one-armed editor), lands himself in uncanny situations that cannot possibly be real… or are they?

 

Bob begins his adventure in Kuwait City, where he runs into Lyn Cassady (played by George Clooney), who will ultimately be the link to the story behind the First Earth Battalion. When the Cassady-Wilton duo courageously ventures into the deserts of Iraq, the first big thing that happens is a car crash, and into a glaring boulder in the middle of the road, no less. Not to mention that the first “help” they acquire is a group of petty thugs that want to sell this clueless American pair. For Wilton’s first big adventure, he’s doing pretty great. Once he starts to glean out some of Cassady’s stories, however, he realizes that the U.S. Military isn’t as tough as it looks.

 

Meet Bill Django (Jeff Bridges), leader of the First Earth Battalion, who uses his “education” (if naked hot tub sessions count as education) to get his men in touch with Mother Earth. Lyn Cassady is Django’s main protégé, and when a fellow Battalion member, Larry Hooper (Kevin Spacey) enters their Garden of Eden, things go terribly amiss: Django gets a dishonorable discharge, and even worse, Cassady stares at a goat so intently that it drops dead. Lyn has thus traversed into the dark side, and to top it off, Larry taps him with the “death touch.” But not to worry; all ends well, with Bill’s vision of Timothy Leary, and some military breakfast laced with LSD. Thus Bob Wilton emerges, cured of his heartache, and in tune to his inner hippie.

 

The director of The Men Who Stare at Goats is Grant Heslov. This is his feature debut behind the camera, but not his first opportunity to join forces with Clooney. He co-wrote (with Clooney) and produced Good Night and Good Luck and filled similar producing duties for Leatherheads. The two men clearly know each other and work well together, and it shows in the easy way this movie unfolds. Heslov is not performing without a net. Who better than Clooney to lend a helping hand – a man who has learned from Soderbergh and the Coens and directed three films in his own right (two of which he collaborated with Heslov)?

 

George Clooney seems to have walked off the set of Burn After Reading and straight into this one: the expressions and the speech are identical. Comments on the acting aside, the laugh-out-loud moments are worth the psychedelic overload. The attention, however, appears to have gone mostly into the dialogue, and the audience knows all too well that dialogue alone does not carry a whole movie. If you’re looking for more reasons—as if there aren’t enough already—to scoff at our former president, look no further than The Men Who Stare at Goats. It’s always fun to make fun.

P.S. Warning to all hamster owners: remember to keep your furry friends away from glaring men.

Jack Rico

By

2009/11/05 at 12:00am

Precious

11.5.2009 | By |

Precious
Jack Rico

By

2009/11/05 at 12:00am

Alex Florez

By

2009/11/03 at 12:00am

Paraíso Travel

11.3.2009 | By |

Rating: 3.5

Rated: Not available
Release Date: 2008-04-26
Starring: Jorge Franco Ramos, Juan Manuel Rendon
Director(s):
Distributor:
Film Genre:
Country:Colombia
Official Website: http://www.paraisotravelmovie.com/

 Go to our film page

Jack Rico

By

2009/11/03 at 12:00am

The Taking of Pelham 123

11.3.2009 | By |

Rating: 3.0

Rated: R for violence and pervasive language.
Release Date: 2009-06-12
Starring: Brian Helgeland
Director(s):
Distributor:
Film Genre:
Country:USA
Official Website: http://www.catchthetrain.com/

 Go to our film page

“The Taking of Pelham 123” is good summer film fare, but it isn’t great. Not that this is a bad thing. The only reason you should go out and see this film is if you are a fan of either Denzel Washington or John Travolta, and are looking for some respectable acting. Otherwise, the action sequences are scant, and even though the premise is captivating, some implausible moments occur that deter you from investing too much of your time and brain power.

Denzel Washington stars as New York City subway dispatcher Walter Garber, whose ordinary day is thrown into chaos by an audacious crime: the hijacking of a subway train. John Travolta stars as Ryder, the criminal mastermind who, as leader of a highly-armed gang of four, threatens to execute the train’s passengers unless a large ransom is paid within one hour. As the tension mounts beneath his feet, Garber employs his vast knowledge of the subway system in a battle to outwit Ryder and save the hostages. But there’s one riddle Garber can’t solve: even if the thieves get the money, how can they possibly escape? That is what the film is all about.

If you ever had the chance to see the original ‘The Taking of Pelham 123’ with Walter Matthau and Robert Shaw, you’ll see in this new version that there are many changes to  the storyline. Director Tony Scott, who we spoke to in New York before the release of the film, commented how this project is not a remake but a new movie altogether. The changes do make the film better, but there is something to be said about the tone of the original that made it a good watch. Nevertheless, both stand on their own as good films, not great.

Latin actors Luis Guzman and Ramon Rodriguez played role characters and had some visible screen time, but not enough to for me to engage you in this particular review.

If I had to pick from the original and the new version to watch tonight, I’d go with the new one, because it provides more entertainment than the first. It won’t blow your mind away, but it’ll keep it from getting bored.

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