The idea of the perfect man doesn't always hold up entirely. Sometimes, a person can seem perfect on the surface - too perfect, in fact - and hold a deep, dark secret beneath. Leah Vaughn (Sanaa Lathan) discovers this when she finally leaves Dave (Morris Chestnut), her long-term boyfriend, because he isn't ready to commit to the idea of children. Dating begins, and she soon meets Carter Duncan (Morris Chestnut) who seems like the perfect man for her. But when she accidentally discovers his darker side, she does her best to get away from him, only to find herself pursued by a very dangerous suiter.
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Woody Watson is an 11-year-old boy with a broken family and an unpredictable future. His father is absent and his mother is in rehab leaving him to be cared for by his grandmother and recently out of prison uncle Vincent in their Baltimore home. His aspirations are questionable, admiring Vincent for his life of crime. One day, while Vincent is supposed to be taking Woody to school, he instead takes him out to the bank where he expected to be granted a loan for his food business. However, he is flatly refused based on his criminal past and he is forced to engage in one more drug dealing job for his ruthless boss Mr. Fish with young Woody looking on. When he witnesses his uncle falling into his violent past, he must choose what sort of life he wants to lead for what was meant to be a lesson in how to be man, has turned into a lesson in how to screw up your life like the rest of your family. Will Woody pick the right path?
'Luv' is the gritty drama based on how a broken family can force a child to admire the wrong sort of people and end up making them make life changing decisions at a very young age. It has been directed by Sheldon Candis ('Young Cesar') who also co-wrote the screenplay with Justin Wilson in his full length feature debut and is set to be released on November 9th 2012.
Directed by Sheldon Candis
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Michael Douglas and Charles Dutton - Michael Douglas and Charles Dutton Monday 16th April 2012 The Eugene ONeill Theater Centers 12th Annual Monte Cristo Award Gala held at the Edison Ballroom Arrivals.
The angel Michael (Bettany) has fallen from heaven, cut off his wings and armed himself to the teeth. Soon he's holed up in a remote desert diner run by Bob (Quaid) and his son Jeep (Black). Michael encourages the rag-tag group in the diner (including Gibson's shady tough guy, one-armed chef Dutton and bickering family Walsh, Tenney and Holland) to fight an invading horde of zombies, apparently sent by God to destroy humanity. And mankind's only hope is to save the unborn child of a waitress (Palicki) from the snarling angel Gabriel (Durand).
Continue reading: Legion Review
Football came naturally to the Pennsylvania native, and it was on the gridiron where he cemented his identity. A gifted running back, Davis was recruited by the great Jim Brown to play for coach Ben Schwartzwalder at Syracuse University. While an Orangeman, Davis earned MVP honors at the Cotton Bowl in 1960 and the Liberty Bowl in '61. Later that year, Davis became the first African-American to win the Heisman Trophy. The Washington Redskins used their first pick in the 1962 draft on Davis (though the team immediately traded him to the Cleveland Browns). But in 1963, before playing a single down in the National Football League, Davis died of leukemia at the age of 23.
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As usual with Sayles, there's a hard knot of a good story here. The film is named for the town's Honeydripper Lounge, a ramshackle affair that serves up a good fried chicken affair but whose old blues singer can't compete with the jukebox R&B getting blasted by the competition down the street. Danny Glover plays the owner, Pine Top Purvis, a piano player with a violent past who's in debt to everyone in town and about out of chances. His last one is a New Orleans hot shot named Guitar Sam who's got a radio hit and is booked to play the Honeydripper on Saturday; only problem is, when the train shows up, Guitar Sam is nowhere to be found, even though Purvis has plastered the town with ads. The whole thing is a scramble, with Purvis frantically (well, not frantically, maybe busily; it is the old South, after all, and things take time) working every last hustle he can to stay ahead of the creditors and the corrupt sheriff (Stacy Keach, playing it more for laid-back humor than menace) who will shut him down if he can't find somebody who looks and plays like Guitar Sam to show up on Saturday. Maybe that handsome fella who just hopped off the train and is chatting up Purvis' daughter could do the trick...
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And rather than a lovey-dovey romantic comedy, Crocodile Dundee II (made, you know, back when we used Roman numerals to indicate the number of a sequel) is an action-packed movie more fit for Schwarzenegger, an attempt to clone Romancing the Stone with a less attractive blonde and a lead with an accent. This time out, our reporter Sue gets in trouble with a group of gangsters, and Mick has to save her ass -- by dragging it back to Australia, where he picks off the villains one by one by using his nutty faux-Aboriginal mojo.
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Like a series of linked MAD TV skits done without regard to network censors - the humor is about that intelligent - the film presents the 1992 Rodney King beating and subsequent riots as a grand comic opera of greed and stupidity, going after everybody involved with equal vigor. One can get a feel for how writer/director Marc Klasfeld intends to approach his subject a few minutes in, when the car chase and police beating of King (T.K. Carter) is done as a jokey game, with a police helicopter pilot serving as the announcer ("and they're off!"), while the cops themselves, having pulled King over, place beats over the ethnicity of the guy inside. Then Snoop Dogg shows up - serving, appropriately enough, as the film's narrator and chorus - to introduce the film proper, while fireworks go off behind him.
Continue reading: The L.A. Riot Spectacular Review
Now it's the fourth Grisham movie to be made, continuing in grand fashion that franchise of increasingly average film versions of his increasingly average writing.
Continue reading: A Time To Kill Review
If only screenwriter Sebastian Gutierrez had put as much effort into story logic and credible characters as director Mathieu Kassovitz puts into generating seat-grabbing goosebumps in "Gothika," the wannabe-cerebral supernatural horror thriller might have had more going for it than just a few good shudders and jumps.
The first above-the-title starring vehicle for 2002 Oscar winner Halle Berry -- playing a criminal psychologist who blacks out after a car accident and wakes up in her own prison asylum, accused of axe-murdering her husband -- the film begins with a strike against it for its laughable attempts at evocative dialogue in the opening-scene rantings of a wild-eyed inmate (Penelope Cruz).
"He opened me like a flower of pain...and it felt goooood," the pretty Spaniard flares, all dowdied-down in Serious Actress Mode. "(Then) I cut his Adam's apple in half like a soft fruit on a summer day."
Continue reading: Gothika Review
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