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Entertainment Weekly set 1Entertainment Weekly Party - Arrivals

Sarah Carter - Entertainment Weekly Party held at the Hard Rock Hotel - Arrivals - San Diego, California, United States - Saturday 26th July 2014

Sarah Carter
Sarah Carter

TNT's 25th Anniversary Party

Sarah Carter - TNT's 25th Anniversary Party held at the Aqua Star Pool at The Beverly Hilton Hotel - Beverly Hills, California, United States - Wednesday 24th July 2013

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Sarah Carter
Sarah Carter
Sarah Carter
Sarah Carter

Picture - Sarah Carter , Thursday 12th April 2012

Sarah Carter and Grauman's Chinese Theatre Thursday 12th April 2012 at the TCM Classic Film Festival opening night premiere of the 40th anniversary restoration of 'Cabaret' at Grauman's Chinese Theatre

Sarah Carter and Grauman's Chinese Theatre
Sarah Carter and Grauman's Chinese Theatre
Sarah Carter and Grauman's Chinese Theatre

Picture - Sarah Carter , Thursday 12th April 2012

Sarah Carter and Grauman's Chinese Theatre Thursday 12th April 2012 TCM Classic Film Festival opening night premiere of the 40th anniversary restoration of 'Cabaret' at Grauman's Chinese Theatre - Arrivals

Picture - Sarah Carter West Hollywood, California, Monday 13th June 2011

Sarah Carter Monday 13th June 2011 The Premiere of TNT And Dreamworks' 'Falling Skies' - Arrivals West Hollywood, California

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Skinwalkers Review


Terrible
Apparently, it's pretty hard to update the classic movie monsters. When filmmakers aren't turning every well known cinematic creep into a fey Eurotrash version of their former scary selves, they're reinventing the mythology into a mindless "gee whiz" joke. So it only seems fair that after zombies got hyper-activated and vampires gained the glum Goth seal of approval, werewolves would be next on the pointless reinvention list. And thanks to the New Age Native American tweak entitled Skinwalkers, these formerly ferocious beasts got the incredibly short end of the post-modern scream stick.

There's an ongoing war between two lupine factions. On the one side are those who feel that the ancient ability to shapeshift is a curse, and want desperately for an ambiguous prophecy to be fulfilled. Then there are the blood-addicted, supernatural junkies who love killing so much that they want to keep the foretold omen from occurring. And what is this fabled forecast? Seems a young boy, born of human mother and wolfman seed, will turn 13 and... well, that part's not all that clear. Apparently, once the kid hits puberty, he will put the depressed beasts out of their misery while buzz killing the other lycanthropes happy hunting. So naturally, one side protects the brat (named Timmy), while the other is looking to carve up his adolescent guts.

Continue reading: Skinwalkers Review

Pledge This! Review


Unbearable
Rarely have I truly said "I wish I had my 90 minutes back" and meant it sincerely. But Pledge This! is a film with absolutely no saving graces, nothing worth redeeming it. It's a waste of time in every way, but I guess I should have known: This is, after all, a movie that doesn't just feature Paris Hilton; she's the headliner. The film is yet another Revenge of the Nerds ripoff, only with gawky sorority girls battling it out with Hilton, who rules over her own sorority and "admits" the awkward gals just to humiliate them later. The film borrows liberally from Strangers with Candy, too, featuring an older co-ed with a penchant for drugs and swarthy talk. There's plenty of gratuitous nudity, of course, and that's the film at its most intelligent. Ultimately, the film hits rock bottom when it turns into a promo piece for FHM magazine, which plans to feature Hilton and her sorority on its cover. Justice was done soon after Pledge This! was dumped on the market, however: FHM promptly went out of business.

Continue reading: Pledge This! Review

Doa: Dead Or Alive Review


Grim
Dead or Alive could be the most literal cinematic interpretation of a computer game ever made. In the film, three young women fight in a combat tournament called DOA: Dead or Alive, held on a top secret, technologically advanced Pacific island resort. As they kick, punch and scratch their way through a smorgasbord of fighters (and suitors), they are recorded by the island's invasive video cameras and watched on multiple screens in a computer laboratory by tournament director Donovan (Eric Roberts). Here's where it gets literal. Donovan injects all competitors with nanobots that record data from their blood stream. This data is relayed back into the computer system so that when Donovan (and the audience) views the fights, incongruous colored bars hover in the upper right and left corners of the screen, indicating the power levels of each competitor. Each time a player is hit, the bar reduces. As the bar is diminished, the fighter becomes more sluggish, until it disappears completely and the fighter collapses. When this happens, giant red and yellow words jump onto the screen and announce who won, who lost, and how.

Clearly, the filmmakers have respected the basic format of the DOA computer game and respected its fans. However, in respecting the computer game director Cory Yuen has disrespected cinema and forgotten the basic needs of a decent film: a good story, interesting characters and some sort of drama. DOA occasionally touches on all of these points, but kicks away in favor of a slavish desire to package the entire production in the style of its source material.

Continue reading: Doa: Dead Or Alive Review

Final Destination 2 Review


Terrible
For all of you budding screenwriters, here is a simple set of guidelines to help you pen the next Final Destination film (yes, there will probably be another, even if it's direct-to-video): First, devise really hideous, graphic ways for people to die -- five or six deaths should do it. Second, tie the gruesomeness together by having paper-thin characters explain the plot -- the grim reaper gives chase to those who've cheated death -- over and over again. Lastly, keep the dialogue simple and void of any entertaining qualities, relying on devices like flipping the bird for big laughs.

That, in summary, is all of Final Destination 2, the generally bland follow-up to the far more likable original from 2000. Here, instead of a clairvoyant teenage boy having visions of a plane explosion, there's an equally clairvoyant teenage girl getting a premonitory look at a massive highway pileup. Director (and former stunt expert) David R. Ellis (Homeward Bound II), and first-time screenwriters J. Mackye Gruber and Eric Bress really don't get much more creative than that, instead leaning on the concept of the original to get them through.

Continue reading: Final Destination 2 Review

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