Pepper Flynt Busbee (Jakob Salvati) is a 7-year-old boy who stands much shorter than any of his classmates, to the worry of his mother (Emily Watson). He has few worries himself though, despite the occasional bully, forever playing adventure games with his beloved father (Michael Rapaport) and feeling like he can take on the world. Things take a turn for the worst, however, when his father is sent off to fight during the troubles of World War II. Distraught, Pepper is willing to do anything to get his father back, and when he is encouraged to use his focus to move an object during a magic show, he starts to see that he really can do anything. He's determined to use his ability to summon Mr. Busbee back home, but he has to be careful never to let a single trace of doubt cross his mind.
Continue: Little Boy Trailer
Kai is a half-English and half-Japanese outsider who was exiled from his homeland, beaten within an inch of his life and enslaved for his heritage. Now he is stronger; an accomplished fighter with an ability to triumph over even the most formidable of adversaries. He is enlisted by a group of samurai warriors to help them regain their land which has been overrun by an infinite army of demons, witches, monsters and giants who have enslaved their people following the dishonourable death of their leader. The forty-seven ronin vow to avenge their master, sacrificing their own lives to attempt to free their compatriots; though as the land becomes more and more sated with savage beasts and ruthless mystics, Kai is left wondering if this is one battle he can't win.
Continue: 47 Ronin - International Trailer
Kai is an outsider, banished from his home, beaten and forced into slavery for being half-English and half-Japanese. He was among a small group of samurais exiled after the dishonourable death of their leader, and now his suffering has turned him into one of the land's most formidable warriors, able to defeat even the largest of beasts. He is enlisted to be part of an army of forty-seven ronin who vow to seek revenge against the infinite army that has taken over their home and killed their master. However, their plan looks almost impossible as the nation is rapidly becoming overrun with a myriad of colossal shape-shifting monsters with the ability to wipe out the ronin all at once.
'47 Ronin' is a fictional interpretation of the real events that happened in Japan in the 18th century, when a small group of samurais sought to avenge their leader. There have been many variations of the story and it has been described as Japan's National Legend. First time director Carl Rinsch is at the helm of this gripping fantasy war film and it has been written by Chris Morgan ('Fast & Furious', 'Cellular', 'Wanted'), Hossein Amini ('Snow White and the Huntsman', 'The Wings of the Dove', 'Drive') and Walter Hamada in his screenplay debut. It will hit the UK on December 26th 2013.
The movie revolves around the convenient story of a special UN operative caught up in a secret murder conspiracy involving a Chinese ambassador, the Chinese Triad Brotherhood, a rich Chinese businessman (played by...that bad guy from Rising Sun, Cary-Hiroyuki Tagawa) a Chinese UN interpreter, and, inexplicably, Donald Sutherland. The film ends with more confusion than a boatload of Chinese immigrants trying to register at Ellis Island. Or should I say the film ends with the most blatant ripoff of both The Matrix and all of John Woo's Hong Kong films combined.
Continue reading: The Art of War Review
Without the faintest hint of director Tim Burton's uniquely uncanny style, "Planet of the Apes" version 2.0 feels like nothing more than a generic (albeit overblown) sci-fi summer movie -- and a forgettably mediocre one at that.
A passionless, elementary endeavor of wow effects and a yawn plot (which has been reinvented from the 1968 original), the picture opens circa 2029 with astronaut Mark Wahlberg working on a space station, training chimps to pilot one-man pods into electrical storms encountered in deep space.
After losing contact with one chimp in a rather ominous anomaly, Wahlberg establishes his maverick personality (which soon fades into a vanilla version of your standard action hero) by swiping a pod against orders to go rescue him. Once inside the storm, our hero is sucked into a wormhole that turns his helm dead and spits him out to crash land on a faraway world in the distant future where -- as if you didn't know -- a brutal, medieval society of evolved simians enslaves primitive humans as labor and pets.
Continue reading: Planet Of The Apes Review
Cool as dry ice, Wesley Snipes comes off a two-year action movie hiatus like a bad-ass, black-belt James Bond with some ghetto in his blood in the opening scene of "The Art of War."
Dressed to the nines for a well-heeled Y2K New Year's Eve party in Hong Kong, he's doing a little workaday blackmailing of Chinese government officials when he is spotted by security and has to kung-fu his way out of there before parachuting off a skyscraper to escape.
Somebody shoots holes in his chute, but while Wes lands safely, the movie crashes face first into the pavement.
Continue reading: The Art Of War Review
Scantily clad action heroine with a sexy-tough pout? Check. Supernatural bad-guy gang of tattooed, Goth-punk clowns? Check. Hard-to-follow kung-fu fight scenes flash-edited to disguise actors' martial arts deficiencies? Check. A complete lack of adherence to its own internal logic? Double-check.
"Elektra" is the latest Marvel Comics superhero flick to roll off the assembly line, and it's such a half-hearted, prefabricated effort that even the normally charismatic Jennifer Garner can't save it.
Reprising her role from 2003's disastrous "Daredevil" adaptation (which she almost did save), Garner plays the title character -- a stereotypically brooding, ninja-trained super-assassin with a conscience who has been brought back from the dead by a generic, mystical army of good that is fighting a generic, mystical army of evil.
Continue reading: Elektra Review
The handful of battle scenes that make up a good hour of "Pearl Harbor" are adrenaline-pumping and hyper-realistic on a massive scale.
You feel the impact of every single 7.7mm round from dive-bombing Japanese Zeros as they rip through pavement, planes and people in the infamous attack around which the film in centered. Director Michael Bay's camera goes inside cockpits, rides along on bombs from release to explosion, captures the terror of a torpedo in the water from the deck of a ship and includes some of the best special effects ever put on film.
The money shot is a hull-buckling blast that rips through the USS Arizona. It makes being on a luxury liner hit by an iceberg look like a 25-cent carnival ride.
Continue reading: Pearl Harbor Review