Karel Roden

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The Heir Apparent: Largo Winch Trailer


Nerio Winch is a self made multi billionaire. While relaxing on his yacht one day he is pulled to his death by a scuba diver who had been lying in wait. Nerio's death throws his company into financial distress, as Nerio apparently has no living heirs to carry on the business.

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A Lonely Place To Die Review


Excellent
Stunning locations in the Scottish Highlands add a professional sheen to this intense, rather nasty thriller. And a focussed, personal approach makes it thoroughly involving, charging up both the suspense and emotions.

Five friends are hiking in the wilderness when they discover a young girl, Anna (Boyd), buried in a box. The most adept climbers (George and Newman) go for help following a shortcut that involves a dangerous descent, while the others (Speleers, Magowan and Sweeney) take Anna on a safer route. But they're being chased by a pair of merciless killers (Harris and McCole) who need to get Anna back so they can collect ransom money from a shady Eastern European (Roden).

And as things turn very violent, everyone gets increasingly desperate to survive.

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Cat Run Trailer


Anthony and Julian are childhood best friends who set up a detective agency, Anthony always wanted to be a chef and Julian's never really had any dreams unless they involve women so logically they thought going into business together would be a good idea.

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Running Scared Review


OK
Like Paul Walker's character in it, Running Scared is a lot smarter than it looks. Unfortunately, it spends as much time being dumb as acting dumb, making for an experience that can be as frustrating as it is entertaining. The film is basically three different movies: One, a straightforward crime drama, probably its strongest suit. Two, a satire of the genre, working on many levels from Peckinpah-esque examination of the male psyche to urban Grimm fairy tale. And, sadly, three, a genuinely clunky thriller. Unfortunately, you never know which you'll get from scene to scene, or even moment to moment.Paul Walker plays Joey Gazelle (Get it? He runs. This would be the less clever part.), a family man in suburban Jersey who also happens to work for the local mob. After a deal gone wrong ends up with a lot of dead people, some of them dirty cops, Joey is charged with his usual task of disposing of the gun that killed said cops. Joey, however, has been stashing the guns he's supposed to have ditched as an "insurance policy." When his son Nicky (Alex Neuberger) and his neighbor's kid Oleg (Cameron Bright) witness him adding the weapon to his collection, Oleg sees an opportunity to settle the score with his abusive father, Anzor (Karel Roden).Soon, Anzor is wounded, Oleg is on the run, and Joey has one night to get the gun back or end up dead at the hands of his own people. Since Nicky might know where to find Oleg, what ensues is the worst Take Your Kid To Work Day ever.Writer/director Wayne Kramer (The Cooler) displays an appetite for flashy camera tricks, but we're not in Domino territory here, thank God. Unlike Tony Scott, Kramer shows some restraint and variety, but the frequent double exposures still wear thin. Just as often, though, he creates intimate spaces where his characters can interact, isolated from the surrounding chaos.The writing varies from sly satire to witless implausibility. Chazz Palminteri's character, a dirty cop, steps into more than one commercial parody in the film, making a passing reference to the actor's own Vanilla Coke ad in the process. At the same time the film relies far too much on coincidence to further the plot.The performances here are all adequate. Walker shows that he can do a convincing Jersey accent. Vera Farmiga's performance as Joey's wife is uneven, but effective when it really counts. Bright pulls off the eerie thousand-yard stare of a kid who's seen too much at home, and so is unfazed by the monsters he encounters in the real world.The deliberate nature of some of Kramer's choices suggest something bubbling under the surface. He sets a key action scene in a hockey rink, a place of socially acceptable violence. Anzor has a tattoo of John Wayne on his back, and carries an obsession with the actor that might serve as a commentary on film violence. References to ultra-violent films like Scarface surface from time to time. It's clear that Kramer's trying to say something, but what?Unlike Revolver, which pretentiously aspires to levels it never achieves, Running Scared aspires to levels it occasionally achieves without ever taking itself too seriously, and while being massively entertaining even when it's not making a whole lot of sense. Kramer's sophomore effort shows flashes of brilliance but smacks of an artist still working out what he wants to say and how he wants to say it. It may not be Peckinpah, but if you're a fan of the genre, it's probably worth a look.The DVD includes a commentary track, storyboards, and behind-the-scenes featurette.Sitting unscared.

Bulletproof Monk Review


Good
Thank God for late April. Tax refunds, nice warm weather, and all of the movies that weren't quite good enough to come out in May show up in theatres. They're not fine art and they're not summer blockbusters, but at least they're not House of 1000 Corpses. Yeah, tax day seems to be the crossover point between the god-awful movies of winter and early spring and the decent cinema of summer.

Case in point is Bulletproof Monk. It's not an edge-of-your-seat thrill ride, it's not laugh out loud funny, but it sure as hell ain't bad.

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15 Minutes Review


Weak
Point of fact: 15 Minutes is far longer than fifteen minutes long. It's pretty much a full 120 minutes long, and even with my rough math skills, that makes it 105 minutes over.

OK, the title is actually an apt reference to Andy Warhol's "fifteen minutes of fame," but that doesn't mean it isn't too long. Slow, plodding, and so far-fetched it stretches the boundaries of "suspension of disbelief," 15 Minutes does very little with a good cast, hoping instead you'll bite into its shock value and simply love the taste.

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Hellboy Review


OK
You can't help but dig Hellboy the character - born a demon, summoned by Nazis, saved by Americans, raised to fight otherworldly evil creatures, and played by Ron Perlman.

What you feel about Hellboy the movie is an altogether different topic.

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15 Minutes Review


Weak

Somewhere between a buddy-cop potboiler and a blunted, commercialized "Natural Born Killers" lies "15 Minutes," a slick, violent thriller with an acerbic statement to make about media sensationalism.

Hard-drinking, cigar-chomping celebrity cop Eddie Flemming (Robert De Niro) and bristly, business-minded arson investigator Jordy Warsaw (Edward Burns) are on the trail of a pair of Eastern European criminals who have hit New York in pursuit of the new millennium American Dream: Get as famous as possible as fast as possible. How? By videotaping a killing spree and selling the tape to tabloid TV.

Yes, the plot just screams "gimmick!" and writer-director John Herzfeld ("2 days in the Valley") lays it on thick, like when the killers go to dinner in an upscale restaurant that shows their tabloid program on a wall-sized TV while snooty diners sip champagne. As if!

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The Bourne Supremacy Review


OK

Staying 100-percent true to the surprising, cerebral, cliché- and catch-phrase-eschewing spirit of 2002's "The Bourne Identity," screenwriter Tony Gilroy (returning from the original) and director Paul Greengrass have put together a breathless sequel with tense intellectual punch, smart, seat-gripping action, and a hero who is utterly compelling, almost without saying a word.

Still suffering from amnesia and nightmarish recovered flashes of his past assignments as a CIA assassin, the now-tempered Jason Bourne (Matt Damon), and the girl (Franka Potente) who helped him survive a relentless manhunt in the first picture, begin "The Bourne Supremacy" having their peaceful incognito existence on an Indian beach shattered by a rogue Russian secret service agent (a silently daunting Karl Urban) with a sniper rifle.

In one of the film's few conventional contrivances, the plot is set in motion when, after a nerve-racking chase through the tight, ancient streets of this third-world seaside town, their jeep plummets off a bridge and this otherwise professional killer heads home, assuming they're dead. Bourne in turn assumes the CIA has come to finish the job they started two years ago, and immediately begins a hunt of his own -- fulfilling his pledge that "if I even feel somebody behind me, there is no measure to how fast I will bring this fight to your doorstep."

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Hellboy Review


Weak

The origin of the mutants in "X-Men" is a concept based on evolution that requires only a little suspension of disbelief. But a whole lot of supernatural B-movie overkill goes into the birth of the title character in "Hellboy" -- including occultish Nazis, a resurrected Rasputin, and the opening of an intergalactic wormhole meant to unleash the "seven gods of chaos" (whatever they are) upon the Earth.

The pre-credits sequence of this effects-heavy summer's-come-early superhero action flick -- based on Mike Mignola's cult comic of the same name -- is a real eye-roller, especially since a battalion of G.I. Joes sent expressly to stop this fascist-black-magic conspiracy just sits on its collective hands doing nothing until the whole shebang is already underway.

But once writer-director Guillermo del Toro ("Blade II," "The Devil's Backbone") moves into the modern day -- where the demon-like spawn of that evil experiment has paradoxically grown into a muscle-bound, horn-headed, red-skinned and stone-fisted, paranormal, crime-fighting anti-hero called Hellboy -- the film settles into a distinctively sharp, sardonic rhythm full of character and imagination.

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Bulletproof Monk Review


Grim

Another action-comedy clone in the now-formulaic genre that buddies mystical Eastern martial artists with wisecracking Western sidekicks, "Bulletproof Monk" squanders what little entertainment value it might have had by telling its story through bargain CGI effects, incomprehensibly edited fight scenes and cardboard characters.

Hong Kong shoot-'em-up legend Chow Yun-Fat (best known stateside for "Crouching Tiger, Hidden Dragon") plays a supernaturally lissome Tibetan holy man charged with protecting an ancient scroll of powerful mystical text from those who would misuse it for personal power. More specifically, in this movie he's trying to keep it from a decrepit ex-Nazi bent on restoring his youth and taking over the world with an army of helicopter-gunship-flying henchmen in suits and sunglasses.

To justify pairing the monk with an American apprentice -- the Chosen One who will take charge of the scroll when he dies -- Chow turns up in New York for no explored reason and is stuck with a smart-alec pickpocket played by Sean William Scott (best known as Stifler in the "American Pie" movies), who never relaxes his crooked, apparently permanent, "whoa, dude" sneering-smirk.

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