Fox has pushed back its premiere date for 'Almost Human' in order to take advantage of post NFL viewing.
Fox has chosen to delay the premiere of its new science fiction series Almost Human. The network has decided to postpone the premiere, originally set for 4th November, until the 17th and 18th when the first two episodes will be shown in a special two night event. Fox is cashing in on the NFL lead-in broadcast on Sunday 17th.
Karl Urban stars in Almost Human.
Following the special two night event, Almost Human will air every Monday at 8pm. This will set Almost Human alongside Sleepy Hollow, which is hugely successful and prime science fiction fan viewing. For two weeks, according to the LA Times, Bones will also air on a Monday night until it changes to its Friday slot on 15th November.
Continue reading: Fox Delays 'Almost Human' Premiere To Cash In On NFL Viewing
Clyde (Butler) has his happy life destroyed when a psycho (Stolte) kills his wife and daughter, but his lawyer Nick (Foxx) accepts a plea bargain that lets the killer out of jail in three years. A decade later, Clyde starts his revenge. A spot of brutal torture and murder lands him in prison, but he continues from behind bars with his violent mission to take down the legal system. It's up to Nick and a cop (Meaney) to figure out how he's doing this before he kills them too.
Continue reading: Law Abiding Citizen Review
Benjamin Bratt is provocative in the role of Miguel Piñero, the troubled and disillusioned force behind the notable work Short Eyes, produced during one of Piñero's incarceration stints in the mid '70s. Bratt effectively exudes the pain and anger that transcends some posturing material, with a portrayal as lyrical as the throbbing beat of the movie's Latin-induced soundtrack. While the propensity for audiences to get caught up in Piñero's wayward world of instability is almost inevitable, the movie follows an uncharted path by trying to reinforce the demons without really being perceptive about Piñero's undeniable skill as a writer. The cliché about creative minds who become consumed by their art is almost a manipulation here. The film is valiant in the way it strides for that redemptive note as it tries to make us accept (and understand) his premature death of cirrhosis in 1988.
Continue reading: Piñero Review
The concept is a simple as they come: Distraught Kyle (Jodie Foster) loses her daughter on a jumbo jet. Where the hell could she have gone?
Continue reading: Flightplan Review
For two smart, nerve-wracking acts, "Flightplan" is a thriller almost worthy of the tag "Hitchcockian," in which Jodie Foster plays a distraught mother whose forlorn 6-year-old girl has disappeared in the middle of an overnight flight from Berlin to New York.
Already an emotional wreck because her husband has just died -- his coffin is in the cargo hold -- when Kyle Pratt (Foster) wakes up three hours into the flight to discover her daughter gone from her side, she loses it. Frantically searching the state-of-the-art jumbo jet, she becomes so unruly that the passengers are put on edge, the captain is called, and an air marshal (Peter Sarsgaard) takes her into custody while the crew looks for the missing child.
But startling revelations soon emerge about the death of Kyle's husband and other seemingly indisputable plot particulars. The whole dynamic of the film, and your perception of this grief-stricken widow, soon shift wildly -- and more than once -- as director Robert Schwentke (a German making his Hollywood debut) deftly rolls mood, pacing and Foster's gut-wrenching, cracked-psyche performance into an atmosphere of incendiary tension.
Continue reading: Flightplan Review
With the United States in the throes of an unexpected war, the timing may not seem right for a movie about military infighting. But "The Last Castle" has a certain popcorn-picture kind of flag-waving pride about it that is enormously satisfying and oddly apropos for this particular moment in history.
Robert Redford could be a gentleman's John Wayne in his starring role as Gen. Eugene Irwin, a highly decorated and revered Army officer beginning a 10-year sentence in military prison for leading his troops, against orders from the President, on a rescue mission that ended in catastrophe.
He's a humble but cocksure leader, greatly admired even by ironhanded warden Colonel Winters (James Gandolfini), who asks the general up to his office to shake his hand before having him shown to his cell. But Winters' respect soon turns to resentment as Irwin begins questioning his methods of managing the men in his jail -- nicknamed The Castle for its stately courtyard-and-towers design.
Continue reading: The Last Castle Review
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