The Hobbit: An Unexpected Journey and Django Unchained are riding high at the top of the US box office charts and as the movie industry lurches slowly into the new year, it’s likely that they’ll remain there. After all, an unsolicited addition to the Texas Chainsaw collection is hardly going to have the pulling power to shift some of the biggest movies of last year off the top of that chart.
That, however, is one of the biggest movies of the week: Texas Chainsaw Massacre 3D. That’s right. An extra dimension has been added to the Texas Chainsaw Massacre story. No, we’re not sure why, either. The phrase “let’s leave well alone, shall we?” springs to mind. The horror genre was just fine and dandy with the original Texas Chainsaw Massacre, the other Texas Chainsaw Massacre, Texas Chainsaw Massacre: The Beginning and Texas Chainsaw Massacre: The Next Generation and... okay all you need to know is that there are already seven of these movies.. but hey, now we have one in 3D, so that, presumably, you can fear not only for the safety of the characters onscreen, but also for the integrity of your own eyeballs, as chainsaw after chainsaw comes flying out of the screen and straight towards your face.
In a classic game of paper, scissors, stone, it becomes quickly apparent that ‘chainsaw’ beats ‘wooden door’ as good old Leatherface wreaks havoc with his favourite power tool once more. Unsurprisingly, it has been met with a tired response, with one reviewer on Rotten Tomatoes describing the film as a “giant turd of a movie.” So, probably not bound for big bucks box office success, then. Bound to divide audiences this one. Divide them between ‘Don’t really like it’ and ‘Really don’t like it,’ that is.
Dominique Swain and James Duval - Dominique Swain, James Duval Tuesday 25th September 2012 The Cast & Crew attend a VIP Screening Of "Blue Dream" Presented By Cinema Epoch & Photomundo International Entertainment held at Warner Bros. Studios
At high school, Scott Murphy was the star football player. He was also popular and had a pretty girlfriend to boot. One year, Scott takes his team all the way to the finals, which they win. However, the win came at a price for Scott; as he made the final touchdown, an opposing player crashed into him, causing Scott a knee injury that ensures he will never play football again.
Continue: Touchback Trailer
Just starting university, 18-year-old Smith (Dekker) hasn't decided yet whether he's gay or straight. It doesn't help that his often naked roommate Thor (Zylka) claims to be straight despite evidence to the contrary. His best pal is the sardonic Stella (Bennett), who has a crush on a hot girl (Mesquida). Yes, everyone's obsessed with sex, and they're experimenting rather a lot. But Smith is also haunted by nightmarish dreams about a redhead (LaLiberte). And when these dreams start invading real life, he's not sure what to do about it.
Continue reading: Kaboom Review
The star slacker here is Eddy (Ryan Donowho), a scruffy but good-looking and charismatic mystery man who deserted his friends and disappeared a year ago after a tragic "accident" took the life of his good friend. What actually happened, and what Eddy's role in it was, is never explained, and while such vagueness could be interpreted as manipulative, it actually works well here, creating a backdrop of tension that never dissipates.
Continue reading: The Pacific And Eddy Review
The Doom Generation, hands-down one of the most horrid examples of filmmaking I've seen in ages, is a brain-dead, post-modern love story. The plot (what there is of it) tells the moronic tale of Amy Blue (Rose McGowan), her boyfriend Jordan White (James Duval), and some guy they pick up called Xavier Red (Johnathon Schaech). (Did you catch on to that ultra-clever color motif?) Altogether, these three embark on a nonsensical spree of sex, killing/mangling people, and then eating...and then repeating the cycle four or five times.
Continue reading: The Doom Generation Review
No! You take a role in Gone in 60 Seconds, and try to extend your movie muscle even further! Here's a movie that's pure, unabashed Hollywood: Randall "Memphis" Raines (Cage), in order to convince a mean criminal to spare the life of his brother (Giovanni Ribisi), must BLOW UP 50 cars in the next 72 hours!
Continue reading: Gone In 60 Seconds (2000) Review
Using the most conservative city in America as a backdrop for the American punk movement proves to be nothing short of brilliance in S.L.C. Punk! This little gem features the always-engaging Matthew Lilliard as "Stevo," a blue-haired college grad in the Reagan years who rages against the machine, his parents, his enemies, and -- of course -- Utah.
Continue reading: S.L.C. Punk! Review
"Gone in 60 Seconds" wants to be a dusky, adrenaline-driven joy ride of car chases and ultra-cool criminal heroes, but it's so bland that it only manages to be exciting for about 20 seconds at a time.
This year's brain-dead summer action entry from producer Jerry Bruckheimer -- king of expensive, MTV-edited, cookie-cutter, popcorn crap pics for the easily entertained ("The Rock," "Con Air," "Armageddon") -- it stars Nicolas Cage as Memphis Raines, a reformed car thief forced back into "the game" when his inept younger brother (Giovanni Ribisi) bungles an assignment to swipe 50 rare cars for smuggling overseas.
A furniture-obsessed mobster ("They call him The Carpenter. He's bad. Really bad."), played by former art film denizen Christopher Eccleston, has threatened to kill Ribisi if Cage doesn't deliver the same 50 cars in 72 hours. So he abandons his modest, honest job running a go cart race track in a desert town and re-assembles his old crew of generically eccentric tough guys from central casting (with oh-brother nicknames like Mirror Man, Tumbler, The Sphinx), and one sexy tomboy ex-girlfriend (Angelina Jolie in a blond dreadlock wig), to pull off the heists -- all in one night.
Continue reading: Gone In 60 Seconds Review
In "SLC Punk!" writer-director James Merendino paints such averitable, aggressively freeform and nihilistic portrait of the tiny SaltLake City punk scene, circa 1985, that you just know he was there.
He gets the rabid social politics and understands the necessarycultural bent toward belligerence. He can write a double-caffeinated voice-overbrimming with drug-induced psychological and sociological observationsfrom a punker point of view, yet make them lucid enough for sober consumption.
Continue reading: Slc Punk! Review
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