The story resembles one of those studio pictures of the 1940s and 1950s made famous by the likes of William Holden and Gary Cooper. Willis plays Col. William McNamara, the highest-ranking officer in German prisoner camp Stalag IV during the tail end of the WWII. McNamara retains the dignity of his fellow American soldiers held captive and silently plans to strike back against the enemy under the suspicious eyes of German Col. Werner Visser (Marcel Iures). When a murder occurs in the camp, McNamara sets in motion a plan of attack against his German counterparts by orchestrating a court martial headed by Lt. Tommy Hart (Colin Farrell), an Army desk jockey with a senator for a father who was recently captured in Belgium. As the tensions mount and sides are taken, both friend and foe uncover duplicities within their own ranks, values of lives are weighed against the duties of soldiers, and the question of honor versus freedom plays out to the final whopper of an ending.
Continue reading: Hart's War Review
Sure enough, Big Momma's House is a comic crowd-pleaser that should score well with audiences that refuse to tire of incessant fat jokes, slapstick, and, well, more fat jokes.
Continue reading: Big Momma's House Review
The story is a balls-out revenge tale, opening with the violent death of kindhearted old mother Evelyn Mercer (Fionnula Flanagan) during a convenience store hold-up. Evelyn's funeral brings home her four adopted sons: mercurial bruiser Bobby (Mark Wahlberg), military man Angel (Tyrese), entrepreneurial Jeremiah (Andre Benjamin aka Outkast's Andre 3000), and semi-famous rocker Jack (Garrett Hedlund). Being back home together brings back memories of the "only woman who ever loved us," but also brings back their thuggish ways, especially when they find out mom's tragic accident may have been murder. That's when the fast-based, Charles Bronson-esque vigilante part of this tale kicks into high gear.
Continue reading: Four Brothers Review
An impressive ensemble cast lends strong character to acultural cross-section of Los Angeles denizens who are connected to eachother through crime, corruption, obligation, indignation and chance overa two-day period. The most powerful storyline features Matt Dillon andRyan Phillippe as beat cops -- one jaded and abusive, the other fresh andidealistic -- who pull over and harass (much to Phillippe's dismay) a blackyuppie couple (Terrence Howard and Thandie Newton) because the SUV they'redriving vaguely fits the description of a carjacked vehicle.
Within 24 hours, these characters all cross paths againin separate incidents of incredibly high tension that challenge both theprejudices that have formed between them and the conclusions we've beenled to as an audience.
Although they do not meet again, similarly potent table-turningand judgment-testing events occur in the lives of the actual carjackers(Larenz Tate and rapper Ludacris, whose character is ironically obsessedwith being stereotyped) and their victims, an ambitious district attorneyand his uptight wife (played with depth and conviction by Brendan Fraserand Sandra Bullock).
Continue reading: Crash Review
At the center of any good biographical feature film is a great performance, like Jamie Foxx's body-and-soul channeling of soul music's original ivory-twinkling innovator Ray Charles in "Ray." But a great performance does not make a biopic great. To rise above the kind of "true stories" that are the fodder of several assembly-line TV movies every year, a biopic needs to be like Ray Charles -- departing from formula and daring to be different.
Director Taylor Hackford (who once helmed the Chuck Berry concert film "Hail! Hail! Rock'n'Roll") doesn't manage that in "Ray," a film that feels more like a two-and-a-half-hour highlights reel from Charles' life. But as a primer on that man's life (musical brilliance, adultery, addiction, and lip service to lyrical controversy and segregation struggles) -- and for a film with a prefabricated story arc and little detail (Charles fathered 12 kids, only three or four of which are even mentioned in the film) -- "Ray" could be a lot worse.
At the very least it has a passionately devoted, dead-on lead actor -- Foxx not only nails the blind soul king's swaying jitterbug body language, but also seems to capture his very essence as a man and musician -- and a whole lot of fantastic, toe-tapping, heart-pumping R&B.
Continue reading: Ray Review
The actor will have his fifth outing as the secret agent in 'Spectre' this November.
The director faced some backlash when Redmayne was announced as playing the transgender pioneer.
The rapper was denied entry to Britain on August 26th.
Noel Gallagher's High Flying Birds topped UK charts with his second album 'Chasing Yesterday' in February.
Filmmaker Wes Craven has died at the age of 76, his family has announced. With a career spanning over 40 years, Craven was one of the most prolific...