Sam Ellis is a high-flying United States Attorney looking at a likely rise to the top in his political career. He appears to have everything; the career, a child, a loving and supportive wife, and he's bursting with charisma. However, it seems all potential political candidates have a dark side no matter how deeply buried, and success is about to bring Ellis' into the open. After discovering his intern has fallen for him, he is suddenly faced with overwhelming sexual desire, but knows that he can't risk his position for a fleeting office romance. Thus, he attempts to calm his yearning by seeking out the services of a prostitute, but finds that once he starts he is unable to stop. It isn't long before his addiction to escorts starts affecting his everyday life when he uses them as a break from the increasing pressures of the media to run for U.S. Congress. Now it's not only his wife and his immediate colleagues he has to worry about keeping his secret from, but the whole of America.
Continue: Zipper Trailer
Spielberg’s 1975 classic is headed to selected US theatres this summer.
Just when you thought it was safe to go back to the theatre think again, as Steven Spielberg’s terrifying 1975 horror classic Jaws is headed back to cinema’s to celebrate the film’s 40th anniversary.
Steven Spielberg first bought Jaws to cinema’s in 1975.
Fathom Events, Turner Classic Movies and Universal Pictures Home Entertainment are coming together to bring the film back to theatres this summer, for a limited time on June 21 and June 24 at 2 p.m. and 7 p.m in select cinemas nationwide.
With a strong cast and striking production values, this thriller is sleek enough to hold our interest even if corporate espionage isn't a very exciting topic for the movies. As the title suggests, the film is trying to tap into the fear that our lives are being controlled by technology. But the script never goes anywhere with this idea, instead drifting through the usual plot involving shady bad guys, dark conspiracies and plucky heroics. All of which we've seen far too many times before.
It centres on young technical genius Adam (Hemsworth), who needs cash to pay the medical bills for his ill father (Dreyfuss). Working with his pal Kevin (Till), he goes for a big promotion but is instead sacked by his boss Wyatt (Oldman). The next morning, Wyatt makes Adam an offer he can't refuse: a chance to earn a fortune by spying on chief competitor Goddard (Ford). But this new undercover job brings all kinds of worries as Adam sees shadowy nastiness lurking around every corner. He's also suspicious that a recent one-night stand, Emma (Heard), works for Goddard. And that there's a strange man (Holloway) following his every move.
Rather than explore corrupt corporate culture or the idea that technology has eroded our privacy, the filmmakers create a fairly pedestrian thriller that tries to blind us with fake techno-speak and corny emotions. The plot continually hints that it will get darker and more momentous, but it never does. All of the stakes feel oddly small, the chain of events doesn't quite hang together and the characters never feel like more than rough outlines.
Continue reading: Paranoia Review
'Paranoia' appears to be a well-cast movie, including performances from Liam Hemsworth, Richard Dreyfuss and Gary Oldman.
Based on the 2004 novel of the same name, Liam Hemsworth's new movie Paranoia actually might not be instantly forgettable. The Hunger Games actor plays technology whizz Adam Cassidy who attempts to balance caring for his ailing father while working a low-paid job at a technology conglomerate. His fortunes begin to turn when his boss Nicholas Wyatt (Gary Oldman) offers him the chance to get rich quick.
Cassidy quickly learns that the job involves infiltrating the firm's biggest rival business (led by his old mentor Jock Goddard) in a dangerous act of espionage. Despite completing the job, Adam's resignation is refused - he now knows too much.
Adam Cassidy is a technology whizz who wants nothing more than to take care of his ailing father who is struggling to live in poverty-stricken retirement despite working all his life. He has a low-paid job at a massive technology corporation but is presented with the chance of a lifetime by his boss Nicholas Wyatt who tells him he can make him rich. However, this involves infiltrating the firm's biggest rival business led by Wyatt's old mentor Jock Goddard in a plot of dangerous espionage to uncover their biggest secret. He finally succeeds in obtaining a revolutionary piece of equipment and presenting it to Wyatt, but he finds himself trapped as his boss refuses to let him leave the company as he now knows too much. Realising that he and his beloved father are in danger not only from Wyatt but from Goddard as well after discovering their ploy, he sets out to use what they taught him to destroy what they built.
Based on the 2004 novel of the same name by Joseph Finder, 'Paranoia' has been directed by Robert Luketic ('Legally Blonde', 'Monster-in-Law', 'Killers') with a screenplay by Jason Dean Hall ('Spread') and Barry Levy ('Vantage Point'). This corporate action thriller is set to hit the US on August 16th 2013.
Arizona's Lake Victoria is being invaded by virtually naked young people during spring break, but teen Jake (McQueen) has to babysit his young siblings (Brooklynn Proulx and Sage Ryan) because his mother Julie (Shue) is especially busy as the town sheriff. As a sleazy filmmaker (O'Connell) hires Jake to show him the lake, Julie is investigating evidence that an underwater rift has released a school of voracious prehistoric piranhas. So not only must she get all of these drunken revellers out of the water, but she needs to make sure her kids are safe.
Continue reading: Piranha 3D Review
Now I'm probably the last person in the world who ought to judge what makes for a good children's movie, but if you'd asked me that yesterday, I certainly wouldn't have said James and the Giant Peach. This is a story about a young boy, James (Paul Terry), whose parents are eaten by a spiritual rhinoceros. He is adopted by his cruel aunts (Miriam Margolyes and AbFab's Joanna Lumley), who abuse him cruelly. Then an "old man" (Pete Postlethwaite) gives James some "alligator tongues" which he spills on a peach tree, creating the aforementioned giant peach. Inside this peach, where James hides to get away from his aunties, he finds a bunch of giant bugs: a Brooklyn centipede (Richard Dreyfuss), a cowardly earthworm (which is, by the way, not a bug--David Thewlis), a sultry spider (Susan Sarandon), a matronly ladybug (Jane Leeves), and sundry other insects.
Continue reading: James And The Giant Peach Review
Mr. Holland is, of all things, a lowly high school band teacher, and the film follows 30 years of his life, from 1965 to the present. Mr. Holland, in his first year of teaching, finds himself turning into that very thing which he detests, a dry and boring instructor who isn't getting through to the kids, so he decides to make a few changes in his teaching style to get the students involved and interested. Using all manner of unorthodox teaching methods, Mr. Holland eventually breaks through and becomes the darling of John F. Kennedy High School, and we see the profound effect he really does have on a number of his students.
Continue reading: Mr. Holland's Opus Review
Now, after Michael Moore's Fahrenheit 9/11, Robert Greenwald's Uncovered: The War on Iraq, France's The World According to Bush, the upcoming Bush's Brain, and many more, filmmaker John Sayles adds his satiric shovelful with Silver City, a (fictional) feature film which explores the ramifications of a political system that lends itself to corrupt and unseemly influences.
Continue reading: Silver City Review
A cinematic collection of slightly exaggerated memories from Lucas' senior year in high school (1962), Graffiti was well-timed; it caught a wave of fifties nostalgia that would crest with Happy Days, Grease, etc. While the iconoclasm of the sixties and seventies would continue to take youth culture in a very different direction, Graffiti helped spark a cultural backlash (or at least a flashback) after the free-love/acid-rock/anti-war era.
Continue reading: American Graffiti Review
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