Justin Chatwin

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23rd Annual Environmental Media Awards Presented By Toyota And Lexus

Justin Chatwin - 23rd Annual Environmental Media Awards Presented By Toyota And Lexus Held at Warner Bros. Studios - Burbank, California, United States - Saturday 19th October 2013

Justin Chatwin
Justin Chatwin

23rd Annual Enviromental Media Awards (EMA)

Justin Chatwin - 23rd Annual Enviromental Media Awards (EMA) - Arrivals - Los Angeles, California, United States - Saturday 19th October 2013

Picture - Justin Chatwin , Wednesday 31st October 2012

Justin Chatwin Wednesday 31st October 2012 Patron XO cafe presents the 8th annual Maroon 5 Halloween Party held at Forever Cemetery in Hollywood

Justin Chatwin

Picture - Guests , Thursday 26th April 2012

Guests and Justin Chatwin Thursday 26th April 2012 attending an Evening of British Fashion and Art held at Reiss

Guests and Justin Chatwin

Picture - Jeremy Allen White, Shanola Hampton,... , Thursday 26th April 2012

Justin Chatwin - Jeremy Allen White, Shanola Hampton, Justin Chatwin, Emma Greenwell Thursday 26th April 2012 attending an Evening of British Fashion and Art held at Reiss

Justin Chatwin
Justin Chatwin
Justin Chatwin
Justin Chatwin

Dragonball Evolution Review

As a director, James Wong has made some interesting films. He was part of the original X-Files team and cut his teeth on the Chris Carter serial killer series Millennium before heading up such genre favorites as Final Destination and The One. Now, he's been burdened with bringing one of manga's most popular titles and characters to life. Already an incredibly popular anime series, Dragonball is a dense, complex universe consisting of 519 individual chapters and more than 42 volumes. Naturally, any movie made of this material would have to concentrate on a single storyline -- in this case, the "Z" mythos. Alas, anyone hoping that Wong could keep this very Asian entry from being "westernized" by Hollywood was sadly mistaken. Instead of something new and unique, we have just another dull teen action film.

On his 18th birthday, Goku (Justin Chatwin) is given a sacred dragonball by his grandfather. Told that with the other orbs in the set, a single perfect wish will be granted, a tragedy sends our hero out to find Master Roshi (Chow Yun-Fat), an old family friend who is the key to unlocking the object's secrets. Along the way, Goku picks up Bulma Briefs (Emmy Rossum), who agrees to help him. With Roshi and desert bandit Yamcha (Joon Park) in tow, he prepares to take on alien invader Piccolo (James Marsters), who along with his assistant Mai (Eriko Tamura) is bent on summoning the dragon Shen Long and ruling the Earth. As the impending solar eclipse signals the moment of reckoning, our group must train to overcome centuries of evil and transform into the ultimate fighting force in the universe.

Continue reading: Dragonball Evolution Review

The Invisible Review

The trailers for The Invisible ask, "How do you solve a murder when the victim is you?" This indeed poses several mysteries, but not the ones the trailer-makers have in mind. First, there's the question of whether the question is grammatically correct (the answer: maybe, but it sure sounds awkward). Then there's the mystery not of how to solve said murder, but where exactly the difficulty lies when you is -- er, are that murder victim. High-school senior Nick Powell, this film's victim, pretty much "solves" his murder while he's being killed (or near-killed); he recognizes and even converses with his assailants. Case closed.

Except that he's dead, of course, but assuming, as The Invisible does, the existence of a rather flexible netherworld between living and death, filling in further details isn't a problem either. When Nick wakes up as a sort of half-ghost, traveling through the land of the living without the ability to be seen or heard while his body lies on the brink of death, his detective skills need only to consist of following the murderers around, overhearing their motivations.

Continue reading: The Invisible Review

The Chumscrubber Review

The starry-eyed cross-breed of American Beauty and Donnie Darko, here comes The Chumscrubber, another self-righteous satire on self-absorbed parents and their estranged offspring. With the over-extended reach of a callow teenager, it fails to conquer its peaks of social relevancy. But it does have a titular headless video-game anti-hero, who, like the film's residents, uses his head as a weapon and presides over the film like a post-apocalyptic master-of-ceremonies.

A facetious voice-over -- "This was the best of all possible worlds" -- introduces brooding loner Dean Stiffle (Jamie Bell of Billy Elliot), a teen caught between dueling self-helper parents, who's soon to discover his dead friend Troy (Josh Janowicz) behind the house of his party-throwing mother, Carrie (Glenn Close). Weeks later, Dean's best-selling psychiatrist-author father, Bill (William Fichtner), therapy-talks Dean sick about his lack of grief. Dad's cure: More of the same pharmaceuticals Dean's school's already drowning in.

Continue reading: The Chumscrubber Review

War of the Worlds (2005) Review

Almost a century before Hollywood perfected the endless repackaging of its stories across multiple media, H.G. Wells created War of the Worlds, which freaked out audiences as a magazine series, a novel, a panic-inducing radio play, a movie, and ultimately a stage musical.

And so it is that in the terrorism-edgy mid-'00s, Steven Spielberg has resurrecteds War of the Worlds - again - and created the greatest alien invasion movie ever.

Continue reading: War of the Worlds (2005) Review

War of the Worlds Review

Steven Spielberg's huge-budget update of "The Warof the Worlds," H.G. Wells' seminal alien-invasion novel from 1898,is a problematic blockbuster with one essential saving grace: It's profoundlyfrightening in a way that few directors have the talent to capture.

I'm not talking about masked-psycho-with-a-chainsaw scary.That's kids' stuff. This is a slow, relentless, meticulous fear. It's thefear of uncertainty, the fear of grand-scale devastation that humanityis powerless to stop. It's a fear that fills the air like a storm and creepsup your spine in a way that's hard to shake. It is a fear not unlike whatevery American felt on September 11, 2001 -- but divorced from fact andrealigned as entertainment through the subconsciously reassuring comfortof a movie theater seat and a tub of popcorn.

It's visceral, it's psychological, and it comes more fromthe terrified performances of Tom Cruise and the remarkable Dakota Fanning(the angelic 10-year-old from "Hide& Seek" and "Manon Fire") -- as a dock-worker deadbeatdad and his daughter on the run from 100-foot alien killing machines --than from the film's hyper-realistic special effects and monsters (whicharen't that different from the ones in the shamelessly corny "Warof the Worlds" rip-off "Independence Day").

The film is worth seeing just to experience this fear,which is a testament to the power of cinema.

Continue reading: War of the Worlds Review

Taking Lives Review


Even with her latest turn as bodacious, babe-a-licious video game vixen Lara Croft still clinging to her like a skin-tight silver catsuit, Angelina Jolie is surprisingly credible as a prim and professional FBI profiler in "Taking Lives." Now, if only the plot of this serial killer thriller could have kept up with her in that department.

A slight, and slightly smarter, twist on the genre's average assembly-line offering, the movie's hook is that the unidentified psycho assumes the lives of the people he kills -- mostly handsome, young, well-to-do loners (if there is such a thing). So he could be anyone from the handsome young Montreal detective (Oliver Martinez) who's bitter that Jolie's been brought in on his case, to the handsome young painter (Ethan Hawke) who is the only witness to one of the murders, to the handsome, ominous stranger (Kiefer Sutherland) who seems to be stalking the artist.

But while director D.J. Caruso ("The Salton Sea") takes a judicious, stylish, slow-burn approach to the suspense (this isn't a tawdry twist-a-minute attempt to get your heart pounding), he can't outsmart the holes in the plot (adapted from a novel by Michael Pye), even if most of them appear only in retrospect -- after the dumb, patronizing and currently fashionable second-climax epilogue.

Continue reading: Taking Lives Review

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