Harold Perrineau Jr.

Harold Perrineau Jr.

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2014 NBCUniversal Press Tour - Arrivals

Harold Perrineau Jr. - 2014 NBCUniversal Press Tour held at The Beverly Hilton Hotel - Arrivals - Los Angeles, California, United States - Sunday 13th July 2014

Harold Perrineau Jr.

Premiere of Disney's 'Planes'

Harold Perrineau Jr. and Wynter Aria Perrineau - Los Angeles premiere of Disney's 'Planes' held at the El Capitan Theatre - Los Angeles, CA, United States - Monday 5th August 2013

Harold Perrineau Jr. and Wynter Aria Perrineau

Picture - Harold Perrineau Jr. and Brittany... Los Angeles, California, Sunday 22nd July 2007

Harold Perrineau Jr. - Harold Perrineau Jr. and Brittany Perrineau Los Angeles, California - party to welcome David Beckham to LA Galaxy held at MOCA Sunday 22nd July 2007

Harold Perrineau Jr.

Lost: Season One Review


Grim
Agatha Christie wrote something in excess of 80 novels. Christie was a practiced and a brilliant mystery taleteller, a commercial writer who exploited her full and total grasp of the mystery genre to massive popular success. Each plot was intricately realized, no facet of the mystery introduced that could not be resolved. Such is the enjoyment of good mysteries: a confidence that although clues and complications have confused us for now, in the end the equation will make sense. We should not know the ending, but it should not be impossible to work out. Lost, 2004's hit about a group of plane-wreck survivors milling about on a mysterious island, crashes and burns on its inability to handle the genre Christie had mastered. Not so much a whodunit as a "whatisit," Lost never seems confident that it can provide the answers to the questions it asks.

Before triangulating the discombobulating mystery that anchors Lost's first 24 episodes, it is necessary to acknowledge the brilliance of the program's premise. An aircraft traveling from Sydney to L.A. crashes, and part of the plane lands on an island somewhere in the South Pacific. Several survivors emerge from the wreckage to take pole positions as the show's cast, and slowly but surely, as some semblance of society is established, we get flashbacks into their previous mainland lives. This design leads to situations such as this: Jack (Matthew Fox) is falling for Kate (Evangeline Lilly). However, as dramatic irony would have it, the viewers know that Kate was actually a gun-wielding fugitive in her pre-island life. Watch out, Jack! This conceit of letting the audience in on the characters' secrets while they mingle obliviously with each other is Lost's greatest power. Nevertheless, creator J.J. Abrams was not content with just that.

Continue reading: Lost: Season One Review

On_Line Review


Terrible
Our culture is spending too much time online (shame on you, readers!) So making a movie about being an Internet surfer looking for love in all the wrong places feels redundant -- why would you want to watch a movie about searching for sex and love and, oh yeah, human connection via the Almighty Computer?

On_Line isn't even really a movie in the traditional sense. It feels more like a Web site. The cinematic frame, if you can call it that, is filled up with "pop up windows" as characters talk with one another over webcam. It's a distracting back and forth electronic collage, as bright young slacker John (Josh Hamilton, The House of Yes), suicidal waif Moira (Isabel Gillies), foxy sex goddess Jordan (Vanessa Ferlito), gay best friend Al (John Fleck), and other techno-geek characters communicate over the desktop.

Continue reading: On_Line Review

Woman on Top Review


Grim
Once in a very great while a motion picture comes along to captivate the minds and spirits of audiences everywhere, magically suspending disbelief in all who witness it. And, though it tries earnestly, Woman on Top is not that picture.

I love movies. In particular, I hunger for films that invite me into a world beyond the limits of mundane, material, daily existence. While Woman on Top deserves some credit for its fresh, innocent effort to make this invitation, it is disappointingly infantile once we all get to the party.

Continue reading: Woman on Top Review

The Matrix Revolutions Review


Weak
With their third (and hopefully, final) Matrix movie, the Wachowski brothers have delivered a dud so disappointing, they may as well have bussed in Ewoks to save Zion.

To understand why, let's just dive right in.

Continue reading: The Matrix Revolutions Review

The Edge Review


Excellent
What do you get when you combine a bear, a man that may or may not want to kill another for his wife, and an entrapanuer with a seemingly infinite wealth of knowledge? Ask me that a month ago and I'd say that I wouldn't see a movie with that plotline if you paid me. But after a barrage of good advertising and even better hype, I decided that I'd go see it.

What a surprise.

Continue reading: The Edge Review

Lulu on the Bridge Review


Weak
Paul Auster (writer of Wayne Wang's Smoke and Blue in the Face) is no stranger to oddball productions. Lulu on the Bridge is another step down the path to David Lynch, with Harvey Keitel as a sax player who gets shot and -- after a miracle recovery that leaves him with one lung -- embarks on an adventure involving Mira Sorvino and a magic rock that glows in the dark. Oh-kayyyyy. It all becomes all-too-apparent what's been going on by the end of this, so after plenty of mood lighting and jazz music, you're released back into the world to completely forget everything you saw. Whatever.

The Matrix Reloaded Review


Grim

Here's your review of "The Matrix Reloaded" in a nutshell: One incredibly cool, gravity-defying, CGI-aided, swirling-camera kung-fu melee; one jaw-dropping, 100-mph, against-traffic freeway chase; and way, way too much long-winded, expository, circular, self-important, pseudo-philosophical yappity-yappity-yap.

Writing-directing brothers Larry and Andy Wachowski saddle their cast with endless equivocal prattle while toiling to buttress the complex plot and metaphysical undertone of this picture's uber-stylish 1999 predecessor, which saw what we think is the real world exposed as an elaborate virtual reality prison for the minds of all humanity. Mankind's suspended bodies provide a power source for a race of machines, which a small band of escapees are hoping to destroy in the post-apocalyptic world outside the Matrix.

"We can never see past the choices we don't understand," sage but elusive cyber-prophet The Oracle (Gloria Foster) preaches cryptically to Neo (Keanu Reeves), the cyber-Messianic hero whose realization that physical laws don't apply in the Matrix led to the first film's groundbreaking wire-work martial arts fights and bullet-dodging slow-mo stunts.

Continue reading: The Matrix Reloaded Review

Woman On Top Review


Terrible

When a movie begins with a lot of narration, it's rarely a good sign. It almost invariably means the director's first cut of the picture was flaccid, and in order to shore it up, scenes from the beginning were diced into a montage to get the audience to the core of the story sooner.

"Woman on Top" begins with about 10 minutes of fairy-tale style narration, all about how a beautiful Brazilian girl named Isabella (talented Spanish enchantress Penelope Cruz) was cursed by the gods with extreme motion sickness, but blessed an ambrosial ability for the culinary arts.

The narrator goes on to explain how this girl grew up and met a sexy waiter (Murilo Benicio) whom she seduced with her cooking. They married and opened a restaurant together, where she quickly became frustrated because she did all the work and he got all the credit.

Continue reading: Woman On Top Review

The Matrix Revolutions Review


Weak

The eye-popping, heart-stopping last hour and a half of "The Matrix Revolutions" more than makes up for everything plodding and ponderous that has taken place since the mind-blowing first hour of the 1999 original.

Astonishing in scale and momentous in scope, it encompasses a spectacular battle between the scrappy, out-numbered but heavily armed defenders of Zion (humanity's last refugee city hidden deep beneath the Earth's scorched surface) and a million-strong swarm of enemy sentinels (those frightening, giant squid-shaped robots) invading from the machine-ruled surface world.

But the monstrous melee may be for naught if uber-human messiah Neo (Keanu Reeves) cannot defeat the invincibly evil, incalculably self-replicating rogue computer program known as Agent Smith (Hugo Weaving) in a simultaneous, nuclear-strength airborne-kung-fu showdown inside what's left of the crumbling Matrix (that virtual world pulled over the eyes of the comatose majority of mankind kept in stasis by the machines who feed off our life-force).

Continue reading: The Matrix Revolutions Review

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