'10 Years' is the story of group of former high school friends that reunite ten years after their graduation. The reunion brings together best friends Jake, Cully, Reeves, AJ, and Marty; Jake is now in a happy relationship with his girlfriend Jess who he wishes to marry, former jock Cully is now married to his cheerleader girlfriend from school, Sam, Reeves is now a famous musician with fans everywhere while pranksters AJ and Marty haven't really changed in the slightest and are still trying to gain the attention of the beautiful and popular Anna. Things take a heavy turn when Jake's high school sweetheart Mary shows up at the reunion bash and he can't seem to switch off his feelings for the sake of his girlfriend who is clearly troubled by the situation. On the other hand, a new romance looks set to ignite when Reeves runs into his old crush Elise and the group begin to realise that they have far from grown up in the last decade; it's as if their high school lives had been put on standby until they were all together again and could finally pick up where they left off.
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At the end of the American Civil War, John Carter (Kitsch) is in Arizona looking for gold when a strange artefact in a cave transports him to Mars, known locally as Barsoom. Getting used to the lower gravity is one thing, but he's soon captured by green, 15-foot-tall Tharks, who have four limbs plus tusks on the sides of their faces. He earns the respect of leader Tars Tarkas (Dafoe), but when he rescues Helium's Princess Dejah (Collins), he ends up in the middle of the war between red human kingdoms Helium and Zodanga.
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Civil War veteran John Carter wakes up in a strange, barren land with no idea of where he is. He soon discovers that he has been transported to the populated Barsoom, which is more commonly known as the planet Mars. He becomes involved in a massive conflict on the planet, with civilisation on Barsoom dying as a result. The beautiful Princess Dejah Thoris tells John that fate has brought him here and that the population and existence of Barsoom depends on him, which John reluctantly accepts.
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Which makes the fact that Numb has a romance at its core all the stranger: Perry's Hudson is a high-power screenwriter and before long he's dating Sarah (Lynn Collins), a studio exec who is taken with him when Hudson and partner Tom (Kevin Pollak) drop by to pitch her a script. It's unclear why she's smitten by the nearly catatonic Hudson... though the way Perry plays it, Hudson seems to be able to come and go from his semi-coma at will.
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Working from Tracy Letts' adaptation of his own play, Friedkin gives us a five-character chamber piece, set in a downtrodden motel room out in the sticks. Bi-curious basket case Agnes (Judd) works as a waitress in a redneck bar by night, and shacks up in a motel room, in a pot-, coke-, and booze-induced stupor by day. It's her meager defense against the onslaught of just-paroled ex-husband Jerry (a beefed-up and amusing Harry Connick Jr.), who drops by to inflict verbal and physical abuse, not to mention dredging up memories of her long-lost son. The woman's only respite is her girlfriend, R.C. (Lynn Collins), a fellow waitress who's a tad too freewheeling for the reserved Agnes. Twitched-out and fragile, she meets her perfect match in the taciturn Peter (Shannon), a war veteran who harbors traumas of his own. Soon after they hook up, Peter becomes increasingly convinced that his body's been colonized by bugs -- bugs laying eggs and traveling up and down his bloodstream. Peter claims to be an escapee from a government medical lab where he was the subject of nefarious tests. He suspects the bugs were bio-engineered by the government to be tools for mind control. Before you know it, Bug has become a full-blown freak show, fueled by military-industrial conspiracies, and styled after Macbeth as the paranoid Peter and the needy Agnes become obsessive partners in mutual destruction.
Continue reading: Bug (2007) Review
The movie begins with what has to be the 23rd re-enactment of the Seven credits that were groundbreaking 12 years ago. They do, however, feature a treasure trove of fun facts about the number 23 such as the Mayans predicting that the world would end in 2012. 20 + 12 = 32, which is 23 backwards; get it? Like I said, not nearly enough weed.
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It's been a crap shoot with the great actor for some time. Watching Pacino is like watching a beloved, over the hill athlete sticking around. He hobbles, the crispness of his movements isn't there, and the mixture of luck and confidence he once had is just a pleasant memory. More often than not, you just hope he just doesn't stumble. You just want a glimmer of what once was.
Continue reading: The Merchant Of Venice Review
In his bold, brusque re-imagining of William Shakespeare's "The Merchant of Venice," screenwriter and director Michael Radford ("1984," "Il Postino") has successfully solved one of the play's two inherent impediments -- its insensitive, arguably anti-Semitic caricature of the greedy, vengeful Jewish creditor Shylock, who demands a literal pound of flesh as payment for a defaulted loan.
Applying audacious creative license, Radford has reinvented the character as a tragic and more central figure -- played by no less than Al Pacino -- whose villainy is motivated by a sense of indignation for his treatment at the hands of bigoted gentiles. This "Merchant" is no longer a farce, but a drama thick with implications about the dangers of religious power in society.
Unfortunately, Radford's creativity with the Bard's narrative doesn't extend to renovating the film's weightless, transparently contrived primary plot about Bassanio (Joseph Fiennes), a young man who wishes to woo beautiful heiress Portia (uncommonly lovely Lynn Collins), but fears he hasn't the wealth to make the proper impression. These romantic aspirations lead his merchant-shipper best friend Antonio (Jeremy Irons) to securing the sinister, high-risk loan from Shylock on Bassanio's behalf.
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