Ghost Town (2008) Starring: Ricky Gervais, Tea Leoni and Greg Kinnear Director: David Koepp Rating: Eight of Ten Stars
After misanthropic dentist Bertram Pincus (Gervais) dies during an operation and is brought back to life, he gains the ability to see and speak to the spirits of the dead. One of them (Kinnear) badgers Pincus into breaking up his widow's new relationship because he fears she is marrying a gold digger. In the process, Pincus finds himself falling in love with the widow (Leoni) and finally starts living life. But can love find a way when the spirits of the dead are being pests?
"Ghost Town" is a touching film about living life when we can and recognizing love and taking advantage of it when it comes our way. It delivers its messages in quirky and very oblique ways, with the love between Pincus and the widow first starting to bloom over the mummified remains of an Egyptian prince and Greg Kinnear's character only discovering how truly to love after he's already dead.
Although it deals with weighty subjects, the film keeps a breezy pace and an upbeat atmosphere throughout, an atmosphere that's enhanced by the inherent charm possessed by and on-screen chemistry generated by the the film's three stars--Ricky Gervais, Greg Kinnear and Tea Leoni.
Gervais and Kinnear play characters who aren't terribly likable, yet the charm of the actors is such that the audience spends the film wanting them to reform their ways and find the happiness they both need. It is also infused with humor that ranges from subtle to borderline slapstick, with every single scene offering something that will at the very least have you smiling but more often than not have you chuckling or laughing loudly. (Even the tagline brought a grin to my face: "He sees dead people... and they annoy him." It's funny and it's also a perfect summary of the movie!)
If you're a lover of ghost movies, the film is also worth checking out due to its unusual ideas for what causes hauntings. Given the last ghost movie I saw from David Koepp--"Stir of Echoes" (click here to read my review)--was pretty traditional, it was a pleasant surprise to see something fresh and original here, a twist in keeping with the overall themes of the story but still one that comes as a surprise.
"Ghost Town" had an undeservedly weak opening weekend, debuting in 8th place in the US box office. I recommend you check it out before it's gone. (That recommendation goes twice if you've complained about the lack of good, well-crafted and intelligent movies in the the theaters recently. If you don't support the good movies with your dollars, we're just going to see more and more crap showing up on the big screen.)
Black Harvest (2007) Story and Art: Josh Howard Rating: Seven of Ten Stars
An investigative journalist (for a blog) comes to a small Texas town to witness an annual display of lights in the skies that have elevated the area to a Roswell-like reverence among UFO enthusiasts. When he almost runs over a young woman in the road--a young woman who vanished without a trace three years ago and now has returned under equally mysterious circumstances--he finds himself tangled in a web of treachery, deceit and unholy bargains where the payment is coming due.
"Black Harvest" is an excellent graphic novel from the pen of writer/artist Josh Howard, the creator of the zombie series "Dead@17" and "The Lost Books of Eve". Like those other works, this book incorporates touches of Christianity (although less than "Dead@17" and far less than "The Lost Books of Eve") into a creepy tale that will remind you of "The X-Files" television series at its best.
Howard continues to refine both his writing and artwork since the debut of "Dead@17" and here he delivers a perfectly paced story where he creates a dark world where aliens, supernatural horrors, secret socieites and dark secrets can and will consume entire communities. Howard's story is sharpened by skillfully written dialogue that gives each character a unique voice and personality, bringing them fully to life and making us care about their fates.
Unfortunately, while Howard does a fabulous job at building tension and juggling several mysteries, midirections and disparate elements that would clash and create a jumbled sloppy mess in the hands of a lesser creator (like what happened with "The X-Files" at its worst), he doesn't quite manage to deliver a finale that's worthy of the build-up. The end of the book is a disappointment and something of a cop-out. I was left asking myself "That's all?", but not in the way that had me wondering if there was going to be a "Black Harvest 2".
The weak ending aside, "Black Harvest" is a well-written, well-drawn book that will be an enjoyable read for anyone who likes a little dark conspiracy and strange beings from beyond with their horror fiction.
In 1978, the first unstoppable mad slasher of cinema drenched the movie screens with blood. Michael Myers, the silent, white-masked killer who butchered his parents one Halloween night when he was still a small child, and then escaped from an asylum many years later to finish the job on another Halloween night--because he missed his sister the first time around--still stands tallest among his imitators, from Jason Vorhees on down the line.
The original “Halloween” not only opened the floodgates for slasher flicks in the 1980s (and a few of the genre continue to trickle out to this very day), it started the career of suspense film director/writer/musical score composer John Carpenter, the late and very-much-missed producer/writer Deborah Hill, and actress Jamie Lee Curtis.
It's now 30 years since "Halloween" was unleashed upon the public, and that film still stands as one of the best-made and smartest of all slasher flicks, and it still deserves a place on any Top 25 Horror Movies list.
This post offers reviews of the the best films that has Michael Myers slashing his way through the plot. In fact, it covers the only films with the character that are worth seeing. (And, yes, I feel comfortable making an absolute pronouncement, because I fear the god-awful Rob Zombie remake in 2007 killed the franchise once and for all... one year short of this auspicious 30th anniversary. Although, maybe not. The graphic novel "Night Dance" was a spectacular read, so maybe Michael will be back to splash the screen with blood again.)
Halloween (1978) Starring: Jamie Lee Curtis and Donald Pleasance Director: John Carpenter Rating: 8/10
Michael Myer, who has been confined to a mental institution since committing several brutal murders as a young child, escapes and returns to his hometown to kill his last remaining relative, his sister. While his psychiatrist Dr. Loomis (Pleasance) tries to get the local sheriff to clear the streets of Halloween trick-or-treaters to protect them from a killer who the doctor believes to literally be possessed by evil spirits, Michael is cutting his way through the population of Haddonfield, getting ever closer to his actual goal, his sister, Laurie (Curtis).
"Halloween" was the first of this type of movie--an unspeakably violent, hands-on killer butchers his way through hapless victims until one girl faces him alone--and it still remains the best. The gore may be mild compared to the countless slasher flicks that follow, but the tension and terror flowing from the screen remains unmatched.
All actors featured in “Halloween” turn in great performances, with Curtis’ portrayal of the terror-stricken, yet scrappy, Laurie being particularly impressive. Horror movie veteran Pleasance also turns in a great performance as the stressed-beyond-stressed-out, gun-toting mental health professional bent on stopping a man who is “pure evil” before he murders again. Even the actor playing the masked, silent Michael Myer is wonderful—he has an animal-like way of cocking his head that is very creepy.
Other strong aspects that really make “Halloween” stand out is the camera-work, lighting, and set-dressing. All of these combine to turn typical small-town America into a creepy and threatening environment that is as much a character in the film as the principle actors. Much of the tension that is built in the early parts of the film grows from the curiously unsettling aura throughout the town of Haddonfield.
Finally, the soundtrack score of "Halloween" needs to be singled out for praise. Performed completely on synthesizers by director Carpenter, it stands as not only one of the creepiest horror movie scores but also as one of the best works of electronica ever composed. Plus, no other horror movie has a theme as memorable as "Halloween." (Only "The Exorcist" comes close, and the theme from it wasn't originally composed for the movie.)
Halloween II (1981) Starring: Jamie Lee Curtis and Donald Pleasance Director: Rick Rosenthal Rating: 7/10
'Halloween II" is a direct sequel to the original movie, picking up pretty much exactly where it left off. After narrowly escaping death at the knife-wielding hands of her insane brother, Laurie is taken to the local hospital while an apparently dead Michael Myers is taken to the morgue in its basement. It quickly becomes apparent that someone was a bit hasty in declaring Myers dead—a natural mistake since Dr. Loomis had shot him six times in the chest--and soon he is stalking through the darkened hospital and sending everyone on the graveyard shift to the graveyard. Maybe Laurie won’t live to see the sun come up on November 1st after all.
The film takes place almost entirely within the Haddonfield hospital. Director Rick Rosenthal. Rosenthal successfully uses the empty, darkened hallways to evoke suspense and horror, and to eventually emphasize the isolation of Laurie as she for the second time in one night is the object of her brother’s murderous intentions.
On the acting front, we’ve got Curtis and Pleasance reprising their roles from the original “Halloween”, and they are just as good as they were before. Curtis once again strikes a perfect balance between strength and terror, and Pleasance once again excels as a man obsessed with putting an end to what he views as evil given form on Earth.
The only weakness that prevents this film from being as good as the original “Halloween” is, curiously, the script. Although Carpenter and Hill wrote both, the story for “Halloween II” never really seems to build up quite the same momentum as the original movie. The middle is actually downright dull at times.
“Halloween II” is still worth watching, but a tighter script would have made it so much better.
Halloween 4: The Return of Michael Myers (1988) Starring: Donald Pleasance, Ellie Cornell, Danielle Harris, and Michael Pataki Director: Dwight H. Little Rating: 6/10
Ten years after Michael Myers brought real terror and bloodshed toa Halloween night in the small town of Haddonfield, he escapes while being transferred between two asylums. He returns to his old stalking grounds, but finds that his sister, Laurie is now out of his reach. However, his young niece Jamie (Harris) is not so lucky. Soon, the bodies start to pile up, and Jamie and her teenaged protector (Cornell) may not survive the night, even though Dr. Loomis (Pleasance) is once again stalk Michael as he stalks them.
With “Halloween 4,” Myers joins the ranks (whether he is elevated or if he falls depends on your point of view) of all the other indestructible psycho-killers, since he was burned to a crisp on camera at the end of “Halloween II.” However, Dr. Loomis, is also back (and he didn’t fare much better than Myers in that fire), so he is probably the only slasher-flick hero who is as indestructible as killer himself!
Like “Halloween II” was an inferior film when compared to the original, so is “Halloween 4” weaker than both its predecessors. The greatest flaw is the setting of Haddonfield. Where Carpenter and his crew managed to infuse the town itself with a sense of dreadful anticipation, the director of this film just conveys that it is like any other little town. Because of this, the movie doesn’t seem quite as suspenseful as those that came before. Yes, there are plenty of shocks, and Myers is now conducting himself as we have come to expect from a man in his like of work (like Jason, and Freddy, and dozens and dozens of other cinema maniacs that appeared in the decade since Myer first cocked his head at Laurie Strode), but the same level of tension is never quite reached.
Acting-wise, however, the performances are as good as they were in the first pair of movies. Curtis isn’t in the film—her character reportedly died in a car accident shortly after she gave birth to a daughter—but instead we have Danielle Harris, a very talented child actress playing Jamie, Myers new target. Cornell also puts on a good show as the stubborn teenaged girl trying to keep herself and Jamie alive as Myers is killing people all around them. At first blush, Pleasance’s performance seems to be a bit much, but if one considers that Dr. Loomis has shot Myers in the chest six times, in the face twice, and burned him alive, and still the human monster fails to die, then it would make sense that the character has gone completely nuts. In that light, his performance is perfect.
Like “Halloween II”, this installment suffers from script problems. In this case, the script isn’t ponderous, but instead is burdened with some useless and annoying subplots (such as one involving brave rednecks hopping in their truck to go kick Michael-ass). I suppose the filmmakers sensed the other problem with the film’s storyline—that Myers was starting to no longer be scary. We saw all his tricks in the first two films, and all we had now was the same as before, except he was so monstrous that he would go after a very young child.
This problem with Michael Myers is what let to some truly stupid missteps in the three movies that followed. Someone, somewhere, decided to take Dr. Loomis at his word. Soon, the series was burdened with bizarre Satanic cultists. It's almost a shame that "Halloween 5: The Revenge of Michael Myers" marks the point at which the series tips over the edge of the abyss and plummets into the Bottomless Depths of Truly Crappy, because it has what I've always thought to be the most striking poster/home-video cover image of the entire series--Michael holding his trademarked butcher knife with the blade fading into an image of a young girl in a harlequin costume. Harris and Cornell are also both back with excellent performances. It’s a shame the overall movie isn’t have been better. (That's the illo at the tip of this post, by the way.)
The final word on “Halloween 4” is that it’s worth seeing if you like your slasher-flicks with some good acting. But you should avoid everything that follows it... with the exception of "Halloween: H20"
Halloween: H20 (1998) Starring: Jamie Lee Curtis, Josh Hartnett, Adam Arkin, Michelle Williams, and LL Cool J Director: Steve Miner Rating: 7/10
Keri Tate (Curtis) has spent the past twenty years trying to put a single night horror behind her. Her successful career as an educator has helped, as has the love of her now-teenaged son (Hartnett) and the fact that she faked her death and changed her name when she became pregnant with him. But now, the past is coming back with a vengeance... Keri will no longer be able to deny that she is Laurie Strode. Michael Myers is back, and he still wants her.
"Halloween: H20" is the only entry in the series since "The Return of Michael Myers" that is worth your time. In fact, it's one of the best slasher movies to emerge from the late 1990s when the genre enjoyed a bit of a revival, because it doesn't engage in self-mockery and remains true to the tone and mood of the original "Halloween" films while presenting a slasher story with a slightly different structure than what we're used to.
Like the original "Halloween", the film is a bit slow in its wind-up, but during this first part of the movie, we get to know the characters--the still-emotionally tortured Laurie/Keri, her son, her would-be suitor (Arkin), and likable innocents who are soon to run into the human killing machine that is Michael Myers.
Also like the original "Halloween", this film does not rely on body count and gory, creative butchering of characters. Instead, it relies on the fact that teh audience actually cares about what happens to the characters in the film. With its well-written script, solid cast--Curtis in particular is fabulous as a broken Laurie Strode who suddenly finds the strength to fight not only for herself but for the life of her son--and a highly underrated director at the helm, the audience is drawn into the action and terror as it builds and unfolds.
(I feel Miner is underrated, because this and other horror films he's done shows that he understands that there needs to be a pay-off to any build-up of suspense, and that the key to making a horror movie truly scary is that the characters in the film need to be human and sympathetic. Both of these facts seem to be lost on many modern horror film directors who believe that one fake scare after another and flat characters surrounded by CGI monsters is all that's needed.)
"Halloween: H20" was a great way to celebrate twenty years of Michael Myers striking fear into the hearts of audiences around the world--it almost managed to reach the great heights acheived by Carpenter and Company in the original film. It remains the last worthwhile entry in the series.
Whatever your travel woes this holiday weekend, they can't be as bad as the ones depicted in this great Thanksgiving comedy.
Planes, Trains, and Automobiles Starring: Steve Martin and John Candy Director: John Hughes Steve's Rating: Nine of Ten Stars
Neal Page (Martin), an over-acheiving, workaholic business man wants nothing more than to get back to his Chicago suburb home and celebrate Thanksgiving with his wife and three kids. Fate, and an unwanted, would-be helpful but constant screw-up Del (Candy) seems to conspire against Page at every turn, thwarting this simple desire and throwing Neal into the most stressful three days of travel of his life.
"Planes, Trains, and Automobiles" is perhaps the best film ever made by John Hughes. It's got a lightning-paced, hilarious script with some unexpected turns, a touching and family-values reaffirming ending (even if I also find it to be a very sad ending), and the diverse comedic talents of stars Martin and Candy are shining brighter here than in perhaps any other film they are featured in. (The movie, more than any other, shows what a loss Candy's premature death was to the world.)
This is a great holiday picture, and I'm sure it's going to stand the test of time as a comedy classic.
Halloween (2007) Starring: Malcom McDowell, Tyler Mane, Daeg Faerch, Brad Dourif, and Scout Taylor-Compton Director: Rob Zombie Rating: Three of Ten Stars
Michael Myers comes home for a "re-imagining" of his classic beginnings. Fans of the original film are going to wish he stayed away.
This sorry prequel/remake goes wrong almost immediately. It spends a great deal of time "humanizing" Michael Myers, showing us his awful childhood with an awfully cliched bad family with members who spout awfully bad dialogue. (In fact, there's barely a decent line of dialogue in the film, except perhaps those uttered by good old Dr. Loomis (played here by Malcolm McDowell, in the only performance that measures up to the original cast).
Why the filmmakers thought that Michael Myers needed to be given a reason to kill other than "he's an evil homicidal maniac" I'll never know. The first quarter of the movie is dedicated to undermining the otherworldly monstrousness that Michael Myers embodied in the original "Halloween" flicks, presenting him as a character that we should feel sympathy for. What's more, once the killing starts, we the viewers are put in the awkward position of feeling obligated to root for the bad guy because he's lashing out at those who made his life hell.
The filmmakers even decided they had to give a lame tie-in to Michael Myers childhood for his signature mask instead of the accidental origin that was presented in the original.
If you do go to see this film, don't make the mistake I did: It does NOT get better once the "he was just a poor widdle boy who lost his way" crap is behind us. There are a few "boo" scares, the splatter is well done, and the cinematography is impressive, but the awful dialogue gets even worse and several of the murders are so drawn out that they become boring. In balance, the last hour-and-a-half or so of the movie is even WORSE than the beginning.
I should have trusted my instincts. I KNEW this was going to be another crappy remake of a great John Carpenter film, and I was absolutely right.
I never imagined in my worst nightmares that it would make me wish I was watching "House of 1,000 Corpses", however.
I should have saved my time and money, and I strongly encourage you to not make the same mistake I did. The ONLY good thing about it is Malcolm McDowell... and he is simply not enough to make this a worthwhile movie.
For reviews of more horror movies, click here to visit Terror Titans.
Balls of Fury Starring: Dan Fogler, George Lopez, Christopher Walken, Maggie Q, James Hong, and Thomas Lennon Director: Ben Garant Steve's Rating: Six of Ten Stars
A one-time child Ping-Pong star (Folger), who has been reduced to performing Ping-Pong tricks at a dinner theater--is recruited by the FBI to infiltrate the deadly underground table-tennis tournament hosted by reclusive Chinese crimelord and Ping-Pong effecianado Feng (Walken).
"Balls of Fury" is the best film I've seen on the big screen in several weeks. It's funny not only because it takes the harmless rec-room sport of table-tennis and turns it into a game of mortal combat, but also because it's a hilarious spoof of the 1970s-style martial arts movies, and even the Yellow Menace films from the 1930s and 1960s.
Contrary to what critics seem to think, this is more of a spoof of the traditional Chinese martial arts movie than it is a spoof of sports films. It's got all the cliches you'd expect from a Bruce Lee film, or a Shaw Bros. prodution from the 1970s, except instead of Kung Fu, we've got paddles and tiny white balls. (We get a little bit of Kung Fu, courtesy of the love interest played by Maggie Q. who also gives us a very attractive showing of skin.)
There's also some obvious nods to the Fu Manchu movies of the late 1960s, both through Christopher Walken's character and the location and nature of his stronghold.
Yet, most critics seem to have missed these fairly obvious cues.
This is another film that is getting bad reviews from a number of critics who simply don't have enough of a context to understand it. They are comparing it to movies like "Blades of Glory" when they should be considering it in the light of "Enter the Dragon". These same critics also missed the boat on "Nacho Libre" for much the same reasons--they simply aren't well-versed enough in genre pictures to properly judge a film that's primarily directed at lovers of B-movies.
What's amazing about these critics missing the foundation of this film is that not only do they have numerous scenes mirroring "Enter the Dragon", not to mention much of the storyline, but they have a supporting cast of actors who have appeared in numerous Kung Fu action films over the years. There's also the fact that the main Chinese bad guy is being played by a white man, like Fu Manchu has been in every scrreen appearance--Boris Karloff, Christopher Lee, Peter Sellers, and Nicolas Cage are all as non-Asian as Christopher Walken. " While the film is more chuckle than laugh-inducing, it's nowhere near as bad as the "professionals" would have you believe. They simply do not understand what they are watching, and they are completely missing all but the most obvious slapstick and "Naked Gun"-esque jokes. It's rather sad to watch them revealed to be utterly clueless about genre films and therefore totally miss the essense of "Balls of Fury".
I suppose it can be said that this is a film with humor that's too low for the "real" critics to get, because it's poking fun at films that many of them haven't bothered to see.
Even allowing for cluelessness, I think many critics are dumping on this movie unfairly. The actors all show great comedic talent and timing. Even Maggie Q. (who is having a really good year, since this is the second quality film she's appeared in this summer, the first being "Live Free or Die Hard") who I suspect is mostly in the film for her hot body gets in some funny moments by playing off the martial arts film stereotypes. Fogler is hilarious as he bumbles his way through the storyline, ultimately ending up in a Ping-Pong battle to the death against Christopher Walken's unpredictable, wakcy-yet-menacing evil Chinese villian. James Hong is also very funny as he applies martial arts cliches to the "ancient art of Ping-Pong" and delivers motivational speeches full of similies that are anything but expected. (In fact, it's a toss-up as to who's funnier in the film, Walken or Hong. Both really earned their paychecks for this one.)
If you have a sense of humor and a love for class martial arts movies, I think you'll enjoy "Balls of Fury" immensely. Trust me. You don't want to take the word of the "experts" on this one. They truly don't know what they're talking about. (I recommend taking in a matinee, as it's cute but not exactly roof-raising. It's just not as bad as the critics would have you believe.)
Idaho Transfer (1973) Starring: Kelly Bohanon, Kevin Hearst, Caroline Hildebrand, and Keith Carradine Director: Peter Fonda Rating: Seven of Ten Stars
Time travel is a reality, but only if you don't wear pants.
Such is the case in "Idaho Transfer" where half a dozen young scientists partaking in an illicit time-travel experiment are stranded 57 years in the future after a mysterious disaster has wiped civilization (and possibly even human life) from the world.
Despite my amusement at the fact that the time machine only works if those using it take off their pants--the movie gives a rationale for the need to do so, but it's so laughable that the real reason had to have been the director liked to see young women in their panties--this is a dark, bleak film that ultimately conveys the message that there is no hope for humanity, no matter what we try. However, unlike many other movies of this kind, it's a message delivered by decent actors, with interesting visuals, and a script that although nearly devoid of action is never boring.
This is one of those films that doesn't deserve the obscurity it has been consigned to. Its fate was sealed the week of its release in 1973 when its distributor went bankrupt. It was released briefly to home video some 15 years later, but soon vanished again. It took nearly two additional decades for it to see a true wide release, and it is now available in a couple of different DVD editions that are easy to come by.
And this is a good thing, because not only is this a quality movie that deserves an audience... and one might even be able to assert that it's a true classic that's fallen through the cracks of the movie business.
"Idaho Transfer" carries a message that's just as timely now as it was in 1973. It will even speak to more people than it did back then, as there are even greater numbers of those are convinced that the world will come to an end the day after tomorrow, due to pollution, over-population, and sinister government plots that there were some 35 years ago.
If only the similarly-themed "An Inconvenient Truth" could have delivered its message with the same level of class as "Idaho Transfer", it might have been tolerable to sit through. Yes, one is a supposed documentary and the other is pure fiction, but the makers of "An Inconvenient Truth" could have taken a lesson or two from the 35 year old film "Idaho Transfer" in regards to delivering a message about the dangers of excessive exploitation of the planet. The chilling, quiet ending to "Idaho Transfer" and the pall that hangs over the entire film stays with you far longer than the with a megaphone-and- and-sledgehammer approach of "An Inconvenient Truth".
I highly recommend "Idaho Transfer" to those who like well-done but downbeat sci-fi films in the "end of the world" mold. I recommend the film even more highly if you're a member of the Cult of Al Gore and only wipe your ass with one piece of toilet paper at a time, and if you've stopped washing your hair to save energy. This is a movie that will speak volumes to you (pants or no pants).
"Idaho Transfer" is included in Mill Creek's 50-movie pack "Nightmare Worlds", and it's one of several reason why that set is a very worthwhile purchase.
(The film can also be had as a stand-alone DVD, but you'll be paying almost the same to get it that way as you will if you get "Nightmare Worlds" (at least if you order the set set from Amazon.com.) The smart money says you shoud get the Big Box with the 49 bonus movies--some of which are actually pretty darn good.)
Monday, July 23, 2007
Resident Evil: Extinction (2007) Starring: Milla Jovovich, Ali Larter, Iain Glen, Mike Epps, Oded Fehr, Spencer Locke, and Christopher Egan Director: Russell Mulcahy Steve's Rating: Six of Ten Stars
Five years after an accident in a top secret lab unleashed a virus that turns dead bodies into flesh-hungry, violent zombies, the world is overrun with undead. Pockets of survivors still exist, and Claire Redfield (Larder) leads a convey from place to plance, attempting to gather them and form strength in numbers. She eventually crosses paths with Alice (Jovovich), who is on the run from the creators of the virus. They consider her their property, and they want to back. Will Alice be the salvation of Claire and her mobile community, or will she bring doom to them all?
After getting over the dissapointment of the fact that "Resident Evil: Extinction" does NOT follow up on what seemed to be an obvious and very cool sequel set-up at the end of "Resident Evil: Apocalypse"--except with an brief exchange between Carlos (Fehr, the only returning castmember from the other film aside from Jovovich) and Alice--I came to appreciate this supposedly final film in the series for its "The Road Warrior Meets George Romero's Day of the Dead" vibe.
I can't praise the film for its script... it unfolds as though it was based on someone's "All Flesh Must Be Eaten" or "Dark Conspiracy" roleplaying campaign, as the fillm moves from horror-flavored, action-oriented horror encounter area to horror-flavored action-oriented encounter area. While the main story-thrust of the film is resolved and the main villain within reach gets his by the end of the film--and please say that's a spoiler... you KNOW that even before he shows up in the movie that the mad scientist is going to bite the dust during the final reel!--the film leaves so many dangling plot-threads that it feels more like the middle of a film series instead of the end. Just like a supposedly "climactic" session of a well-run (and continuing) roleplaying game session.
I also can't really praise the acting in this film, because I don't think there was any. (I know that's not true... the apparently lack of acting is acting in and of itself, as anyone who's seen more than two or three low-budget indie horror movies will confirm). But, the film is so devoid of anything but action that there's no need for the actors to do anything but run around and shoot off blanks and beat on extras in zombie make-up. Jovovich does a little acting when she first wakes up at what seems to be the beginning of first "Resident Evil" movie, and then later when she comes upon the cornerstone of Umbrella Corporation's latest project, but she isn't exactly required to stretch herself.
I am, however, impressed with movie's breakneck pace and how it kept me entertained... and even how it shocked and startled me with violent zombie attacks. The zombie crow sequence was also expertly staged and executed, and it was one of the scariest sequences I've seen in recent cinema. Yes, it was remincent of both "The Birds" and "Night of the Living Dead"... but I wouldn't have thought that borrowing from two such different classics could result in something so nifty.
There isn't a scrap of padding in the film. It promises to deliver zombies and lots of gory violence, and it delivers on that in spades. While part of me would have liked a slightly more structured plot, the overall film still worked for me. I also didn't mind the fact that the end of the film really isn't all that much of an ending--instead, it opens up branches to two possible sequels. Maybe that's because I've been running running roleplaying game campaigns for some 30 years now, and that's exactly how I like to "end" my campaigns. I want to always keep openings so the fun can continue, if the players are willing.
"Resident Evil: Extinction" is not a masterpiece. In fact, it's probably downright forgettable, and I am certain that in a week, my memories of it will be as vague as those I have of the first two, but while in the theater, I enjoyed myself immensely.
The Villain (aka "Cactus Jack") (1979) Starring: Kirk Douglas, Ann-Margaret, and Arnold Schwarzenegger Director: Hal Needham Rating: Eight of Ten Stars
The Handsome Stranger (Schwarzenegger) volunteers to escort the lovely Miss Charming safely to her father... but the villainous Cactus Jack (Douglas) has dark intentions for both!
"The Villain" is a hilarious physical comedy that plays like a live-action version of the classic Warner Bros. cartoons featuring Bugs Bunny vs. Elmer Fudd or the Road Runner vs. Wiley E. Coyote. It even borrows several jokes from those cartoons... and they're even funnier when live people are put through their paces by them.
I'm sure some hysterical parent will be up-in-arms over the violence in this film, and I suspect there's some retarded kid who will watch it, draw a tunnel on the wall, and run headlong into it and crack his head when it doesn't become real. The rest of us, however, be we normal adults or kids who are congenital idiots, will certainly laugh ourselves silly while watching this highly underrated, very unusual comedy.
A Japanese film star has denied reports she was conned into buying a lamb disguised as a poodle.
Maiko Kawakami has dismissed stories she was the victim of a scam by tricksters importing lambs from Australia and Britain to sell as poodles to rich Japanese women.
It was widely reported that the scam came to light after Kawakami complained on a television talk show that her new poodle refused to bark or eat dog food.
"Ms Kawakami is very surprised by how much this has spread overseas. She was just recounting on television how she had heard of such a story while she was at a nail salon," a spokeswoman for her talent agency said.
"Ms Kawakami does not even own a poodle."
Police in Sapporo, where the fraudulent company was reportedly based, also denied the tale.
"We have had inquiries from so many media - CNN, CBS among others - and all I can say is that that article is completely made up," a spokesman said.
(From ananova.com)
Yes, Ms. Kawakami. We understand you don't own a poodle.
But do you own a lamb?
(BTW, the "media morons" referred to in the tag for this article are not Maiko Kawakami or her spokespeople, but rather the anonymous reporter who wrote this article,and all the other journalists who apparently didn't notice that even the original writer didn't fully believe the shaggy sheep tale he was relating, because even he states that "this has a whiff of the 'urban myth' about it."
"Ghost Town" is a touching film about living life when we can and recognizing love and taking advantage of it when it comes our way. It delivers its messages in quirky and very oblique ways, with the love between Pincus and the widow first starting to bloom over the mummified remains of an Egyptian prince and Greg Kinnear's character only discovering how truly to love after he's already dead.
) The smart money says you shoud get the Big Box with the 49 bonus movies--some of which are actually pretty darn good.)
