Sebastian Gutierrez

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Los Angeles Special Screening Of 'Elektra Luxx' At The Aidikoff Theatre - Arrivals

Emmanuelle Chriqui, Adrianne Palicki, Carla Gugino, Malin Akerman, Marley Shelton and Sebastian Gutierrez - Emmanuelle Chriqui, Carla Gugino, Sebastian Gutierrez, Marley Shelton, Adrianne Palicki and Malin Akerman Los Angeles, California - Los Angeles special screening of 'Elektra Luxx' at The Aidikoff Theatre - Arrivals Friday 4th March 2011

Emmanuelle Chriqui, Adrianne Palicki, Carla Gugino, Malin Akerman, Marley Shelton and Sebastian Gutierrez
Emmanuelle Chriqui, Adrianne Palicki, Carla Gugino, Malin Akerman and Marley Shelton
Emmanuelle Chriqui, Adrianne Palicki, Carla Gugino, Malin Akerman and Marley Shelton
Emmanuelle Chriqui and Carla Gugino
Emmanuelle Chriqui and Carla Gugino
Emmanuelle Chriqui, Adrianne Palicki, Carla Gugino, Malin Akerman and Marley Shelton

Women In Trouble Trailer

Watch the trailer for Women In Trouble

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The Eye (2008) Review

While it may be cliché to say it, the Asian horror phenomenon is officially dead -- and Jessica Alba killed it. Six years after Hong Kong's Pang brothers unleashed the original creepshow, those horror bottom feeders at Lionsgate have delivered The Eye, a mandated PG-13 retread. While it would be nice to say that the time spent in greenlight limbo aged the frightfest and it's slightly hackneyed organ transplant premise like fine wine, the truth is that all we end up with is overripe cheese.

Sydney Wells (Alba) is a famed concert violinist. At the age of five, a fireworks accident left her blind. She tried surgery at age 12, but it didn't work, so for the last 15 years, she's spent her life sightless. Now, big sister Helen (Parker Posey), who feels responsible for her condition, sets up another procedure. Sydney receives a set of donor corneas, and within weeks, she is seeing again. She's also having hallucinatory visions of burning people, suicidal school children, and a weird shadowy visage with a mouth full of ghost fangs. Seems the previous owner of these eyes died mysteriously and wants Sydney to experience the same visual hell she lived through -- and there is nothing our heroine, or her determined doctor (Alessandro Nivola) can do to stop it.

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Rise: Blood Hunter Review

I suppose, if anything, the fact that there is a new vampire flick out every month suggests that vampires -- in their black leather incarnation -- have become cinema mainstays. It's like Christmas music in November, just part and parcel of the great American experience.

Sure, the vampire myth has been with us forever. One of the very first films was a vampire movie. We are indeed obsessed with these blood-sucking trollops. And yet, lately, the vampire film has fallen into a rut that I worry it can never pry itself out of. We don't see the vampires of yesteryear anymore. Gone are green skinned, hairy-eared ghouls that haunted graveyards and sucked the blood from corpulent women. Gone are the baby-bird-headed stick figures that lurked in foggy London alleyways. Today vampires are all glamorous, leather-bound martial arts experts. They have great hair (that's a side-effect of living forever), nice shoes, and groove to industrial music. They are the Goth fashionistas who are as infatuated with sucking blood as they with collecting Ferraris and having swanky parties.

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Snakes On A Plane Review

Snakes on a Plane arrives riding a wave of internet-generated hype and, I gather, a massive confusion of expectations. The pre-release proliferation of art, videos, songs, t-shirts, and other DIY media celebrating the film's unabashed conceptual simplicity (and fortuitous hiring of Sam Jackson in a leading, snake-busting role) indicates excitement, yes, but the nature of their devotion -- what the "fans" actually want from this movie -- remains something of a mystery. Are they hoping for an unintentionally awful cheesefest -- a big-screen, Sam Jackson-starring version of a direct-to-video feature? Or something less low-rent -- a campy but faintly self-aware horror show? Maybe an all-out self-parody in the vein of Con Air? Are the Snakes on a Plane faithful B-movie buffs or studied ironists?

Most likely the fan base features a healthy mix, which means they have a 50-50 shot at either enjoying Snakes on Plane for incorporating traces of all possible techniques, or feeling disappointed when their preferred approach gets the short shrift. Full disclosure: I couldn't describe my interest in watching Jackson fight snakes as anything but sincere.

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Gothika Review

Having won her Oscar, banged Bond, played a superhero, and had her scrapes with the tabloids, there was only one glaring omission in Halle Berry's Hollywood resume (besides making her London theatrical debut), and that is: horror movie scream queen. Sure, Gothika's not Scream or Halloween 17: Chucky's Divorcee - there's a little more to it than that - but a good part of Ms. Berry's screen time is taken up with flailing her arms and screaming wildly while being pinned down by mental health aides and an injection-happy nurse. All in all, she's quite successful at it; this may not seem like the highest praise, but since you never quite know what kind of manure the studios are going to try and pass off as a horror or thriller flick these days, one has to lower the bar.

Gothika does its damn best to convince us that Berry, as Miranda Grey, is quite the serious prison therapist, sitting straight-faced through her sessions with insane convict Chloe Sava. (That's more than the audience can do, watching poor Penélope Cruz, as Chloe, actually try to act.) Dour-faced as she is, Grey seems to love her job, having a loving husband (Charles S. Dutton) as her boss at the women's prison, and a funny co-worker (Robert Downey Jr) who has a pretty serious crush on her. Then, driving home one rainy night, she crashes her car to avoid a girl standing in the rain. She then walks up to the crazed-looking girl, who then bursts into flames. Grey wakes up in one of the observation cells at the prison three days later, unsure if what happened was a dream, only to be told that she's been there three days and that she killed her husband.

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She Creature Review

Where did this very strange movie come from? Certainly it was never in theaters... which might be explained by its plot oddity, about a couple (Rufus Sewell and Carla Gugino) who encounters a captive mermaid and figures she might be their ticket out of the land of low-rent carnies. Oh, and it's a period piece and a psychological thriller of sorts. Utterly baffling, it's still oddly watchable if for no other reason than to try to figure out what accent that is that Gugino is trying to emulate during her many monologues.

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Judas Kiss Review

Intrigue and sexiness mix together in Judas Kiss, just not very well. Carla Gugino, Gil Bellows, Simon Baker, and Til Schweiger make an unlikely band of scam artists-cum-kidnappers, but it's cop partners Alan Rickman and Emma Thompson (both with outrageously bad New Orleans accents) that really make you wonder who the hell cast this thing. Tons of stars, including Hal Holbrook in an exceptionally over-the-top role, make this movie fun but unspectacular.

The Big Bounce (2004) Review

Near the end of The Big Bounce, Owen Wilson's character tells the woman who has just conned him, "I have to be sober to tell this story." In my opinion, only a drunk would be able explain (or BS) his way through this mess of a movie, a remake of an equally bad film of the same name from 1969. Both films are based on the novel from acclaimed author Elmore Leonard, and though Leonard may be able to pen a worth-reading novel, it's plain to see that transposing his words into a worth-viewing film is often an impossible task.

In this Bounce, Wilson plays vagabond Jack Ryan, a man who's bad luck and bad choices have landed him on the North Shore of Oahu where he takes a job in construction working for shady hotel developer Ray Ritchie (Gary Sinise) and his assistant Bob Jr. (Charlie Sheen). It's not long before Jack gets fired and finds new employment as a handyman at a complex of vacation bungalows owned by Judge Walter Crewes (Morgan Freeman). While working for Crewes, Jack becomes enamored with Nancy Hayes (Sara Foster, the poor man's Bridget Fonda), Ritchie's sexpot girlfriend and house-sitter while he escorts his wife (Bebe Neuwirth) on shopping trips in Honolulu. Nancy has a plan to milk Ritchie out of $200,000, and she needs Jack's help to pull it off.

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