As a teen Bob moved from the countryside to the slums of Trenchtown, outside Kingston, where he was confronted by his mixed-race roots (his father was a British Marine). In the 1960s, his ska band The Wailers found success in Jamaica. Then in 1972, Island Records founder Blackwell started promoting The Wailers as a rebellious rock act, leading to global celebrity. Over the next decade, Marley's life included world tours, a re-formed band line-up and a series of huge hits. In 1981, he died after a brief battle with long-existing cancer.
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When the Stones take the stage at New York City's Beacon Theater, it's frightening -- their age truly shows on film. As giants on the silver screen, we have a front row seat for an exhibition of frail bodies moving in ways that only young men should move. As Mick Jagger belts out songs of youthful rebellion and sexual frustration, he still does the same androgynous dances of yesteryear. Yet, this off-putting display of aged youth is clearly a place of sentiment for Scorsese, whose camera lingers with love.
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The Beowulf legend originates from a 700 A.D. oral tradition that was adapted in epic poem form by the English and into film form by director Robert Zemeckis -- using motion-captured live-action performances that are turned into a computer-generated light show. Much like the IMAX 3D screenings of Zemeckis' previous effort, The Polar Express, Beowulf's tale of a hero who comes to rid a Scandinavian village of its monster, while screaming his name every chance he gets, is more a showcase for RealD technology than an engaging film.
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Somehow inspired by this bit of Australian folklore, Jerry Bruckheimer and a posse of conspirators (notably director David McNally, famous for the boobs and booze epic Coyote Ugly) decided to turn this story into a by-the-book chase movie. While Kangaroo Jack does deliver the fart jokes, bumps on the head, and anthropomorphized CGI animals necessary to keep kids interested, it never really delivers quality laughs or whimsy. It borrows watered-down versions of car chases, airplane chases, jeep chases, and gunplay from other Bruckheimer fare such as Con Air and Gone in 60 Seconds, that seem more played out than exciting.
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The film presents a snapshot of the hotel and its inhabitants, looking into a night filled with murder and gluttony in the doldrums of a desolate world. Tommy (Donnie Montemarano) and Mick (Vinnie Argiro) are two life-long friends from Brooklyn, in their early sixties, who have made their way as crooks. Tommy has just been released from prison, and Mick has brought him back to the hotel, where he surprises his buddy with a story of how he has gone clean. No more crime, booze, or floozies for Mick, who has saved up enough dough for the both of them to get on a bus at 7 a.m. the next morning to head for a new start in Vegas. But a mischievous Tommy, anxious after seven years in the pen, gets into some trouble after being propositioned by the seductive Amber (Natasha Lyonne). Amber is a "whooore," as Tommy refers to her with his thick Brooklyn accent, and part of a small prostitution ring run by Rodan (Vinnie Jones) from within the building. After the encounter, Tommy finds that he has compromised Mick's plans for Vegas and must somehow avoid the twisted Rodan in order to make his escape.
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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.
Continue reading: The Big Bounce (2004) Review