Muscled ladies' man Black Dynamite (White) is a legend in 1970s drug-ridden Los Angeles. When his brother is murdered in a drug deal gone wrong, he teams with his former CIA colleague O'Leary (Chapman) to solve the mystery. He gets help from his pals, the flaming Cream Corn (Davidson) and tough-guy Bullhorn (Minns), and also has time to romance the orphanage activist Gloria (Richardson). And the trail to the killer leads him through the kung fu treachery of the fiendish Dr Wu (Yuan) right to Tricky Dicky's White House.
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Will Smith plays Robert Neville, a virologist investigating a genetically engineered cure for cancer that has gone very, very wrong. With most of the world's population wiped out and a small remnant turned into ravenous, infected carriers, Neville ekes out a lonely existence with only a dog for company in the remains of New York City, hunting, foraging, and exploring by day and shutting himself in at night. The infected, as it turns out, are vulnerable to ultraviolet light.
Continue reading: I Am Legend Review
If the sequel had one scene like that, then, I would have left the theater a happy camper. However, Anacondas: The Hunt for the Blood Orchid does not. That is a big problem.
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One hypothesis, that we spend our working hours thinking and want to relax and thus not think in latter hours appears to hold water at a glance. However, when you peer deeper you realize that not everyone enjoys turning their brain off. Furthermore, many people cannot turn their brain off. Yet I am both A and B and still find brainlessness enjoyable.
Continue reading: A Low Down Dirty Shame Review
Following his scuffle, the Navy hustles Fisher into therapy, where the man's true demons - and the film's true purpose - can be explored. Fisher is observed by superior officer Dr. Jerome Davenport (Washington), who is given three sessions to dig up the root of his new patient's moody swings. The normal teacher/student routines set in, largely characterized by Fisher's initial resistance and Davenport's tough love.
Continue reading: Antwone Fisher Review
Most "inspiring true story" movies have their truth panel-beaten into a prefabricated formula and served up like a Sunday School lesson. But "Antwone Fisher" is something special. Part old-fashioned Hollywood up-by-the-bootstraps plot and part angry young product of the ugly underbelly of foster care, it's a film that delves far deeper than expected and packs a real emotional punch.
Antwone Fisher is a first-time screenwriter who sold his autobiographical script while working as a security guard on the Sony Pictures lot. But that was the end of a long journey that began with his birth in prison two months after his father was murdered. His early childhood was spent in an orphanage, where his mother failed to come claim him when she was released. His adolescence was spent being beaten, berated and sexually abused at the hands of his foster family in a Cleveland ghetto.
His teens were spent in reform school and on the street after his foster mother gave him $67 and dumped him off at a men's shelter. And when the film catches up with Fisher, he's a quiet and modest but defensive Navy petty officer with a hair-trigger temper who has just been busted down to seaman and docked $200 a month for six months after beating up another sailor.
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A pair of robust performances from Laurence Fishburne and Derek Luke (the Antwone Fisher of "Antwone Fisher") raise the laughably-titled motorcycle action flick "Biker Boyz" slightly above its veneer as a two-wheel rip-off of "The Fast and the Furious."
Similarly set in the "sideshow" world of illegal street racing, this movie comes minus the ridiculous cops-vs.-smugglers subplot and plus some impressive Western-inspired trick riding. In one scene two bikers speed down the freeway, dismounted to one side of their muscle-cycles with both feet in metal-soled boots, making contact with the road and sending out 20-foot sparks.
But while the plot is utterly predictable -- Kid (Luke), a hot-headed but talented up-and-coming racer, wants to challenge long-time champion Smoke (Fishburne) for his title -- the love-hate relationship between the two (Kid's dad had been Smoke's mechanic) has more depth and dimension than this kind of over-polished B-movie usually musters (see Sylvester Stallone and Kip Pardue in the formulaic, Formula One-themed "Driven").
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