It's been 14 years since a scientist (Cromwell) invented surrogates, robots controlled by brainwaves that let us experience anything. Now some 99 percent of the population has one, and people spend their lives in darkened rooms living virtually. Then FBI Agent Greer (Willis) and his partner Peters (Mitchell) discover that a guy (Noseworthy) has a weapon that can kill both surrogates and their human controllers. But the hunt for this weapon opens old wounds with the humans-only religious fanatics who live on reservations and follow the word of their Prophet (Rhames).
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That's how long we've been hearing about humanity's war against the machines, a battle James Cameron first initiated in 1984 when he sent Arnold Schwarzenegger back in time to terminate an unsuspecting Linda Hamilton. Armageddon was averted, then later triggered, in subsequent sequels before arriving at Salvation. But our predestined, apocalyptic future looks a lot like products from Hollywood's past. Specifically, imagine the love child of Mad Max and The Matrix as delivered by Michael Bay, and you're beginning to get this picture.
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So, this killer crocodile, with the absurd handle of Gustave, is munching on Africans in war-torn Burundi. And he's like super hungry. Given that he can live to 100 years and eats hundreds of people a year, the croc's a one-lizard population safeguard. Unfortunately for the villagers who live in fear of this monster, there's another Gustave in the bush: Little Gustave, a nasty decapitating warlord. (His name is a great example of Hollywood slap-your-forehead allegory.) When an American news network sends in a television crew to film the capture of the croc, they run afoul of both the cold-blooded river beast and the hot-tempered warlord. Hysterics ensue.
Continue reading: Primeval Review
I honestly can't believe a movie like this was made. Basically, it's the story of Angela Bennett (Bullock), a superstar computer hacker who runs across something she isn't supposed to, then finds her identity erased, her friends killed, and herself hunted down. Obviously a rush job to beat the other impending computer movies to the market, The Net is one plot hole after another, with technological impossibilities filling the space between.
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Already, T3 has a strike against it. Sequels with "Three" in the title tend to reek, from The Godfather: Part III to Jaws 3-D. Strike two comes in the form of high expectations. Twelve years ago, James Cameron raised the bar with Terminator 2: Judgment Day, a superior sequel and a long-standing leader in the high-tech special effects field. The shoes director Jonathan Mostow (U-571) was asked to fill look mighty big.
Continue reading: Terminator 3: Rise Of The Machines Review
Catwoman is the result of four actors without a leg to stand on, three lonely writers with an unhealthy obsession over leather and cats, and one director with a problematic penchant for photogrammetry.
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