Nick Chinlund

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Nick Chinlund goes shopping at The Grove

Nick Chinlund - Actor, Nick Chinlund goes shopping at The Grove in Hollywood - Los Angeles, California, United States - Tuesday 11th August 2015

Nick Chinlund
Nick Chinlund
Nick Chinlund
Nick Chinlund
Nick Chinlund

Nick Chinlund shopping at The Grove

Nick Chinlund - Nick Chinlund shopping at The Grove - Los Angeles, California, United States - Saturday 27th December 2014

Nick Chinlund

Need For Speed Trailer


Tobey Marshall is a highly skilled street racer who’s recently been released from a long sentence in prison after being framed for a crime he never committed by a scheming rich businessman. When he sets out on a revenge mission to take part in a race across country, his former friend and ex-partner betrays him and he is forced to escape the law once again.

Continue: Need For Speed Trailer

9th Annual Tribeca Film Festival - Premiere of 'The Chameleon' at the SVA Theatre - Arrivals

Nick Chinlund Friday 23rd April 2010 9th Annual Tribeca Film Festival - Premiere of 'The Chameleon' at the SVA Theatre - Arrivals New York City, USA

Nick Chinlund
Nick Chinlund
Nick Chinlund

'George Gershwin Alone', special concert fundraiser for The ALS Association. Performance by concert pianist, actor and playwright Hershey Felder, held at Geffen Playhouse

Nick Chinlund - Nick Chinlund and Barbie Chinlund Westwood, California - 'George Gershwin Alone', special concert fundraiser for The ALS Association. Performance by concert pianist, actor and playwright Hershey Felder, held at Geffen Playhouse Monday 4th June 2007

Nick Chinlund

'George Gershwin Alone', special concert fundraiser for The ALS Association. Performance by concert pianist, actor and playwright Hershey Felder, held at Geffen Playhouse

Nick Chinlund Monday 4th June 2007 'George Gershwin Alone', special concert fundraiser for The ALS Association. Performance by concert pianist, actor and playwright Hershey Felder, held at Geffen Playhouse Westwood, California

Nick Chinlund

The Chronicles of Riddick Review


Grim
A befuddled attempt to give Vin Diesel his own franchise series - now that he's ditched giving the XXX thing another whirl - The Chronicles of Riddick stomps onto screens with an attitude that's somehow both obtuse and far too simplistic. This sequel of sorts to writer/director David Twohy's Pitch Black takes one of that film's sole survivors, the titular shaven-headed and silver-eyed criminal (Vin Diesel), and drops him into the middle of a byzantine interstellar conflict that's about as easy to parse out as one of Frank Herbert's Dune novels.

At the start of the film, Riddick is being chased on a remote, frozen planet by some bounty hunters, whom he promptly dispatches and steals their ship to ride back to the planet of Helios Prime, where their employer was from. Once there, he finds out the bounty was put on him by one of Pitch Black's other survivors, Imam (Keith David, resplendent in flowing robes and a sharp goatee). Apparently, Imam and Aereon (Judi Dench), an ambassador from a ghost-like race called the Elementals, think that Riddick, being a member of the Furion race, will be able to help the galaxy fight off an onslaught of planet-destroying religious fanatics called Necromongers. The Necromongers are on a galactic jihad to bring about something called "the Underverse" and will convert or kill anybody in their path. But, before any of this can really be figured out, the Necromongers' gigantic armada crashes down on Helios Prime and things get really complicated. There's about ten minutes' worth of action that takes place later in a prison which, even now, after much contemplation, still makes absolutely no sense.

Continue reading: The Chronicles of Riddick Review

Ultraviolet Review


Grim
The look is called super-saturation or over-saturation. It's when the colors are all bled out, or excessively sharpened, and it's normally done to connote flashbacks or sentimentality. In Kurt Wimmer's Ultraviolet it is everything, every single sequence, every frame. It looks incredible, but unfortunately, it means absolutely nothing.

Believe me, I wanted - at times frantically - to like Ultraviolet. While the plot is entirely reductive, the acting painfully amateurish, most of the special effects uniformly crummy, Ultraviolet is breathtaking to watch. At times it looks like a 3rd generation bootleg of some ultra-obscure New Wave music video (perhaps, Experimental Projects' "Glowing in the Dark" - try tracking that one down), at others like goofy outtakes from Kill BillKill Bill: Volume 1. The film rampages wildly through neon infused colors and minimal THX 1138 styled sets, Matrix stunts, and gaudily shot sentimental close-ups. The entire film is an uncanny buffet of cult culture - we've got everything from Grant Morrison to Max Headroom, Tron to the Wachowski's Doc Frankenstein comic book, Iggy Pop's abs to Cassavetes' Gloria, all stuffed into a weirdly affected plot.

Continue reading: Ultraviolet Review

The Legend of Zorro Review


OK
The Legend of Zorro is sure to please those who dug the fancy swordplay and acrobatics of The Mask of Zorro. For those who enjoyed the 1998 summer hit for the romantic byplay between co-stars Antonio Banderas and then-unknown Catherine Zeta-Jones -- as well as the sheer absurdity of Anthony Hopkins playing a Hispanic -- well the recently released special edition DVD will do just nicely.

The sequel picks up 10 years later in 1850, where lovers Alejandro (Banderas) and Elena (Zeta-Jones, again convincing everyone she's not European) are now married. Alejandro is still working around the clock as Zorro to help the oppressed of California, a situation Elena is none too pleased with since she feels he's neglecting his family. After an especially nasty argument with Elena, Alejandro leaves his estate to get some space and to save some more peasant families. Several days later, he's handed divorce papers and a reason to start drinking.

Continue reading: The Legend of Zorro Review

Amy's O Review


Weak
Check it out, it's the Julie Davis show!

The director of indie faves I Love You, Don't Touch Me! and All Over the Guy makes a star turn here (not to mention directing herself, writing for herself, and producing herself) in a role that is almost undoubtedly Julie Davis in the guise of "Amy."

Continue reading: Amy's O Review

The Kid (2000) Review


Excellent
Remorse is a dangerous thing in the mind of a man. It can hold a person down, quell his dreams, suffocate innocence, and convert people into intolerable beasts. People often think that if they could go back in time and reverse the wrongs done to them, a great weight would be somehow lifted from their shoulders. Beat up that bully that destroyed your self-esteem, kiss the girl you were in love with, stand up to the father that used you for a whipping post. These memories haunt the minds of individuals all around us like the ghosts of the Winchester Mansion.

What if you really had the chance to change all of that? What if you could talk to yourself when you were only eight years old and explain how to take a stand for yourself, give the younger you understanding of why dad is so angry at the world, and give yourself hope for retaining individuality in a sea of conformity. In the new Disney film The Kid Russ Duritz gets that once in a lifetime chance.

Continue reading: The Kid (2000) Review

The Chronicles of Riddick Review


Grim
A befuddled attempt to give Vin Diesel his own franchise series - now that he's ditched giving the XXX thing another whirl - The Chronicles of Riddick stomps onto screens with an attitude that's somehow both obtuse and far too simplistic. This sequel of sorts to writer/director David Twohy's Pitch Black takes one of that film's sole survivors, the titular shaven-headed and silver-eyed criminal (Vin Diesel), and drops him into the middle of a byzantine interstellar conflict that's about as easy to parse out as one of Frank Herbert's Dune novels.

At the start of the film, Riddick is being chased on a remote, frozen planet by some bounty hunters, whom he promptly dispatches and steals their ship to ride back to the planet of Helios Prime, where their employer was from. Once there, he finds out the bounty was put on him by one of Pitch Black's other survivors, Imam (Keith David, resplendent in flowing robes and a sharp goatee). Apparently, Imam and Aereon (Judi Dench), an ambassador from a ghost-like race called the Elementals, think that Riddick, being a member of the Furion race, will be able to help the galaxy fight off an onslaught of planet-destroying religious fanatics called Necromongers. The Necromongers are on a galactic jihad to bring about something called "the Underverse" and will convert or kill anybody in their path. But, before any of this can really be figured out, the Necromongers' gigantic armada crashes down on Helios Prime and things get really complicated. There's about ten minutes' worth of action that takes place later in a prison which, even now, after much contemplation, still makes absolutely no sense.

Continue reading: The Chronicles of Riddick Review

Mr. Magoo Review


Unbearable
One star, for principle.

Chutney Popcorn Review


OK
Just the other day I was remarking, "Why aren't there more Indian lesbian surrogate mother comedies!?" Thank God, my prayers are answered with Chutney Popcorn, a curious picture that defies categorization... er, except I think that's what I just did.

An obviously self-indulgent indie project from Nisha Ganatra, who directs, produces, writes, and stars, our heroine Reena finds herself acting as a surrogate mother for her infertile older sister, who is married to a bit of a schlub of a white guy. But what will Reena's girlfriend Lisa (Hennessy) think? You can probably fill in the rest of the movie on your own.

Continue reading: Chutney Popcorn Review

The Chronicles Of Riddick Review


Grim

Writer-director David Twohy creates an uncommonly vivid and comprehensive science-fiction universe in "The Chronicles of Riddick," complete with genuinely otherworldly planets and detailed cultural mythologies. But he spends so much time and energy on such minutiae that the film fails to live up to the promise of it all. His manifold details serve a standard action-star-against-an-army plot with substandard catch-phrase dialogue.

The title character and reluctant hero -- a ruthlessly efficient, prison-buffed mass-murderer with night-vision eyes played by thunder-voiced, chrome-domed Vin Diesel -- was first seen in Twohy's "Pitch Black," a seat-gripping, even more vivid and otherworldly alien-swarm horror flick from 2000 that helped launch the actor's tough-guy career.

Riddick saved a few crash-landed space-transport passengers from being eaten alive by spectacular CGI monsters in that movie, but when "Chronicles" picks up five years later, bounty hunters are still hot on the trail of the coldblooded escapee. The biggest reward isn't being offered for his capture, however. One of the "Pitch Black's" survivors (Keith David) is seeking Riddick's vicious muscle to help save his homeworld from an unstoppable evil.

Continue reading: The Chronicles Of Riddick Review

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