Veronica Mars spent her teenage years as a private eye alongside her detective father. Despite achieving a private detective's license at the age of 18, she plans to walk away from that part of her life now having seemingly had her fill of solving grisly murders. Now older and wiser, she has made it as a formidable New York lawyer, to the immense pride of her father. However, her new start is interrupted when she is called back to her hometown of Neptune during a high school reunion. Her former boyfriend Logan Echolls has been accused of murdering someone for a second time, despite her proving his innocence to a first murder as a teenage sleuth. Will her eye for detail and supreme intelligence prevail once again and help her solve another mystery, or has she lost her touch?
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Kristen Hager Beverly Hills, California, United States The Paley Center For Media Presents An Evening with SyFy's "Being Human" Season Three Premiere & Panel held at The Paley Center For Media Tuesday 8th January 2013
Dylan Dog is a private investigator unlike no other. Based in New Orleans, Dylan is more of a paranormal investigator than a normal detective and his clients are somewhat of a specialist field, most of them are dead; and if they do have some form of pulse, they're certainly not of human.
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The film is set in what must now be looked at as a golden age of fanboy anticipation: 1998, with the 1999 release of Episode I drawing ever tantalizingly closer. But not close enough: Lifelong friends and Star Wars megafans Linus (Chris Marquette), Windows (Jay Baruchel), Hutch (Dan Fogler), and somewhat estranged (which is to say somewhat more socialized) Eric (Sam Huntington) hatch a plan to drive across the country, break into Skywalker Ranch, and see an early cut of the prequel. They need to do this because Linus has movie cancer, which is just as fatal as regular cancer but much less messy, never prohibiting him from, say, embarking on a zany cross-country road trip.
Continue reading: Fanboys Review
When Clay (Sam Huntington) arrives at a large state university, his only goal is to score a dumb blonde. At the same time, Amanda (Kaitlin Doubleday), the sorority girl of his dreams, is challenged by her sorority sisters to date a gay man and then dump him (to get revenge on the evil male of the species). Clay gladly pretends to be gay just so he can spend more time with her, but now he has to figure out "how to be gay." Amanda's Jewish friend Jessica (an especially foul-mouthed Heather Matarazzo) is similarly challenged to date and dump a Muslim. Off to the side, Clay's sensitive roommate Matt (Mike Erwin), a closeted gay teen, is slowly coming to terms with himself while simultaneously falling in love with Matt. And Matt's high-school girlfriend Majorie (Marla Sokoloff) also shows up as a newly self-identified lesbian.
Continue reading: Freshman Orientation Review
While KISS was a few years before my rock & roll prime, they were still quite popular when I was in school, and tales/rumors of Gene Simmons' cow tongue, blood splitting, backwards-masked lyrics, and the infamous "Knights In Satan's Service" moniker were the stuff of legend.
Continue reading: Detroit Rock City Review
The 'tweenybopper moviegoer is unlikely to be savvy to the rote, one-dimensional nature of clichés like catty in-crowd queen bees, cardboard cut-out dream boys admired from a distance, and underdog cliques of pretty, outcast Everygirls -- but that's no excuse for building a whole picture around such threadbare characters and the inevitable plots that go with them.
Yet that's exactly what happens in "Sleepover," the latest example of how Hollywood can strip a halfway decent idea of any originality by saddling it with tedious stereotypes and the false hope of easy, prepackaged solutions for young girls' adolescent problems.
It's a comedy in which four "average" junior high girls (Alexa Vega, Mika Boorem, Scout Taylor-Compton and Kallie Flynn Childress), typically nervous about being accepted, are challenged by four shallow, cruel, fashionista cheerleader types (Sara Paxton and three indistinguishable minions) to a one-night, sneak-out-of-the-house scavenger hunt. The winners get to eat lunch at the "cool" table when they go on to high school next year.
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In 1978, those gratifying but decidedly untalented hard-rock circus clowns known as KISS made a rotten yet strangely enjoyable Z-grade sci-fi flick called "KISS Meets the Phantom of the Park."
In it, the leather and spike-attired, goth-metal band members pathetically cue-carded their way through hero roles in which their famous greasepaint gave them superpowers which they used to battle alien invaders at an amusement park in between terribly staged songs. But they knew the movie stunk. The audience knew the movie stunk. It was part of the fun.
Twenty-one years later comes "Detroit Rock City," another KISS-centric movie that focuses -- wisely or unwisely, take your pick -- on the band's sadly dimwitted, white trash fan base instead of on the band itself.
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If ever there were a genre long overdue for a vicious lampooning, it would have to be the cliché-plagued fantasy factory of the witless teen comedy/romance.
The popular jock, the cruel cheerleader, the arty-dreamy bespectacled girl, her shy geek best friend pining for her love -- these stock characters were glaringly unoriginal and badly acted back when John Hughes cauterized his "Pretty In Pink" formula into the heads of vacuous pubescents in the '80s.
Now the time for reckoning has arrived. A whole slew of central casting pop culture denizens -- and the literally dozens of throwaway flicks they inhabit -- get skewered something fierce in the ribald and relentlessly, no-jokes-barred satire "Not Another Teen Movie."
Continue reading: Not Another Teen Movie Review