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Jeff Goldblum, Vivica A. Fox , Roland Emmerich - Roland Emmerich Hand and Footprint Ceremony held at the TCL Chinese Theatre at TCL Chinese Theatre - Los Angeles, California, United States - Tuesday 21st June 2016

Jeff Goldblum, Vivica A. Fox and Roland Emmerich
Jeff Goldblum
Jeff Goldblum

Vivica A. Fox - Roland Emmerich Handprint and Footprint Ceremony held at the TCL Chinese Theatre IMAX at TCL Chinese Theater IMAX - Los Angeles, California, United States - Monday 20th June 2016

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Vivica A. Fox

Vivica A. Fox - Independence Day: Resurgence Los Angeles Premiere held at the TCL Chinese Theatre at TCL Chinese Theatre - Los Angeles, California, United States - Tuesday 21st June 2016

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Vivica A. Fox
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Vivica A. Fox

Vivica A. Fox - Roland Emmerich Hand And Footprint Ceremony at TCL Chinese Theatre - Hollywood, California, United States - Monday 20th June 2016

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Vivica A. Fox
Vivica A. Fox
John Storey, Jeff Goldblum, Vivica A. Fox, Roland Emmerich, Bill Pullman and Brent Spiner
John Storey, Jeff Goldblum, Vivica A. Fox, Roland Emmerich, Bill Pullman and Brent Spiner

Vivica A. Fox - Premiere of 20th Century Fox's 'Independence Day: Resurgence' - Arrivals at Hollywood - Los Angeles, California, United States - Monday 20th June 2016

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Vivica A. Fox

Jessie Usher , Vivica A. Fox - Premiere of 'Independence Day: Resurgence' held at TCL Chinese Theatre - Outside Arrivals - Los Angeles, California, United States - Monday 20th June 2016

Jessie Usher and Vivica A. Fox
Vivica A. Fox

Vivica A. Fox , Sela Ward - CinemaCon Big Screen Achievement Awards at Caesars Palace Resort and Casino at Omnia Nightclub, Caesars Palace - Las Vegas, Nevada, United States - Friday 15th April 2016

Vivica A. Fox and Sela Ward
Vivica A. Fox and Sela Ward
Vivica A. Fox and Sela Ward
Vivica A. Fox and Sela Ward
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Vivica A. Fox

Vivica A. Fox - Celebrities attend BARBERSHOP: THE NEXT CUT premiere at TCL Chinese Theatre in Hollywood. at TCL Chinese Theatre - Los Angeles, California, United States - Wednesday 6th April 2016

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Vivica A. Fox - Opening night premiere of Cavalias Odysseo - Irvine, California, United States - Saturday 6th February 2016

Vivica A. Fox
Vivica A. Fox and Jasmine Lewis
Vivica A. Fox and Jasmine Lewis
Vivica A. Fox and Jasmine Lewis
Vivica A. Fox and Jasmine Lewis
Vivica A. Fox

Vivica A. Fox - Premiere of 'Fifty Shades of Black' at Regal Cinemas L.A. LIVE Stadium 14 - Arrivals - Los Angeles, California, United States - Tuesday 26th January 2016

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Vivica Fox - The TMA 2015 Heller Awards at Hyatt Regency Century Plaza - Century City, California, United States - Thursday 28th May 2015

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Vivica Fox
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Vivica Fox
Vivica Fox
Vivica Fox

Bolo the Entertainer and Vivica A. Fox - Screening of 'Chocolate City' at The Empire AMC Theater - Arrivals - New York City, United States - Tuesday 19th May 2015

Bolo The Entertainer and Vivica A. Fox
(l-r) Bolo The Entertainer, Darrin Dewitt Henson, Vivica A. Fox and Robert Ri'chard
(l-r) Bolo The Entertainer, Darrin Dewitt Henson, Vivica A. Fox and Robert Ri'chard
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Vivica A. Fox

Vivica A. Fox - Dancing with the Stars 10 Year Anniversary Party at Greystone Manor - West Hollywood, California, United States - Wednesday 22nd April 2015

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Vivica A. Fox and Terrell Owens - A variety of stars were photographed as they attended the 1st Annual Startuch Charity Gala which was hosted by Terrell Owens at Riviera in Los Angeles, California, United States - Thursday 26th February 2015

Vivica A. Fox and Terrell Owens
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Vivica A. Fox - Vivica A. Fox arrives at Los Angeles International Airport (LAX) - Los Angeles, California, United States - Thursday 19th February 2015

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Vivica A. Fox

Double Take Review


Terrible
New year, new pile of movies straight from the Hollywood dumping ground of badly test-screened, obscure, unfunny, and badly acted garbage. Double Take is the first pony out of the gate. I don't know which is the worst part of the film: Eddie Griffin's overacting, Orlando Jones' non-acting, or the ugly mutt that passes as Griffin's sidekick.

Orlando Jones does a better job in those 7-Up commercials than in the role of Darryl Chase, an uptight investment banker set up by a combination of the CIA, the FBI, a Mexican drug cartel, the Federales, and an emu farmer as part of a double murder/embezzlement scheme. Running from the law, Chase changes clothes and identity with Freddy Tiffany, a two-bit hustler named played by Eddie Griffin he encounters on the street. Together, the pair travel across the country to Mexico, where a certain CIA agent holds the key to Chase's freedom. And of course, during the journey, Darryl Chase rediscovers his roots as a black man while Freddy Tiffany shucks and jives his way through every situation like he's the bastard son of Eddie Murphy and Jerry Lewis.

Continue reading: Double Take Review

Two Can Play That Game Review


Excellent
Two Can Play That Game turns love into a brutal battleground of the sexes. It's not about relationships as much as it is about the "rules" they abide by (or don't abide by). A twisted version of Angela Bassett in How Stella Got Her Groove Back, Vivica A. Fox stars as a successful businesswoman named Shante Smith. She's a player, as she explains in the opening scenes, knowing as much as there is to know about the "rules" of love.

Shante has a bunch of friends, and a handsome, charming boyfriend named Keith Fenton (Morris Chestnut), a successful lawyer himself. One night, Shante finds her love dancing with another woman at a nightclub -- and so begins the vicious battles of the sexes. Will the two get back together, or will this be the end of their relationship?

Continue reading: Two Can Play That Game Review

Boat Trip Review


Terrible
Directors, screenwriters, and everyone else involved in making a movie have a singular task: make an audience believe in the world onscreen. I'll forgive a lot in a movie, if the characters and their conflicts hold my attention. Boat Trip never makes the effort to establish anything original. The filmmakers are selling you a used world at new world prices. In fact, their opinion of the audience's intelligence is borderline galling.

The plot is a shameless rip off of Some Like It Hot, modified for the Britney generation. Desperate for some female loving, two single guys (Cuba Gooding Jr. and Horatio Sanz) decide to go on a singles cruise. However, thanks to a malicious travel agent (Will Ferrell, smartly appearing unbilled) the two dolts unwillingly wind up on a gay cruise.

Continue reading: Boat Trip Review

Why Do Fools Fall In Love? Review


OK
Or, a better question: Why would anyone think a movie about a battle over music royalties by three vengeful women, starring Little Richard as himself, would be any good?

Kingdom Come Review


Good
When LL Cool J stars in a movie with a title like Kingdom Come, you expect to see car chases, stuff getting blown up, that sort of thing. Instead, we get a fairly average, seen-it-before, family comedy that has its moments as well as its problems -- just like the clan in the movie.

When the Slocumb family patriarch -- evidently an ornery sonofabitch -- keels over in front of wife Whoopi Goldberg, it sets off a Slocumb pilgrimage back to the tiny town of Lula for a weekend of last respects. But, like most extended families, there is friction, conflict, and the occasional secret.

Continue reading: Kingdom Come Review

Kill Bill: Volume 1 Review


Excellent

Editor's Note: Once in a while a film comes along that's so popular the critics start lining up months in advance, begging to review it. Kill Bill is a case in point, and Tarantino would do well to turn his camera at the gory battles among the filmcritic.com staffers, what with all the limbs and blood flying everywhere. But Bill has also become another source of strife: It's the most contentious film we've reviewed in a long while, with lovers and detractors lined up on either side of a wide DMZ. So in the spirit of the kung fu flick, which inspired Tarantino to make Bill in the first place, we present our own knock-down, drag-out battle to the death. Enjoy.

Sean O'Connell: "writes itself into the Hollywood history books"Quentin Tarantino's fourth film, Kill Bill, reminds us why we, as a collective moviegoing society, wish he'd work more often than he does. The acclaimed director rocketed to cult stardom with Reservoir Dogs and Pulp Fiction, cranked out an overlong homage to film noir in Jackie Brown, and then slid off the filmmaking radar for the better part of six years.

Well, he's back, serving as the director and screenwriter of a slight story built around a botched assassination and the ensuing desire for revenge. Plot-wise, Kill Bill couldn't be simpler. The execution, though, is so massive that Tarantino split the movie into two parts, which Miramax will release months apart from each other.

Tarantino may be receiving reams of press for his risky endeavor, but Bill's real star is Uma Thurman. She plays The Bride, a wispy blonde warrior left for dead by her former boss Bill (David Carradine). Four years later, she snaps out of a coma and swears vengeance on the fiends who shot her in the head. Tarantino asks the world of his leading lady, and Thurman delivers. She rolls her natural vulnerability and newfound butt-kicking passion into a steely ball of adrenaline. The right actress for this role, she effortlessly balances the physical demands of Bill with the lyrical demands of Tarantino's wordy dialogue.

All praise heaped on Tarantino's effort comes with a warning, though. Violent beyond comparison, Bill begs you to avert your eyes from the ceaseless bloodshed, and turns your stomach with its celebrated depiction of exaggerated brutality. The ear-slicing scene of Reservoir Dogs and the hypodermic needle sequence in Fiction still don't prepare you for the carnage Bill brings to the screen.

Yet for every one minute of time you spend revolted by Bill, you spend two minutes enamored with the risks Tarantino takes. An animated sequence only contributes to the onslaught, testing the boundaries of acceptable stylish slaughter. The lengthy fight sequence at The House of Blue Leaves writes itself into the Hollywood history books. Tarantino and legendary kung-fu fight choreographer Woo-ping Yuen repeatedly take Bill ten steps beyond the point of overkill. It's frequently elegant, but enough quickly becomes enough.

Right at the point you're ready to throw in the towel and write Bill off as a shameless gore fest, though, something occurs that pulls you right back into the fold. It could be Sonny Chiba's subtle performance as a samurai master selected to mentor The Bride. It might be Chiaki Kuriyama's deliciously deadly turn as a 17-year-old assassin dressed as a schoolgirl. More than likely, though, it's a visual trick conjured up by Tarantino's imaginative brain. Bill is gorgeous, but unwatchable. It's absorbing, then vile. With an ounce of restraint, Tarantino could've had a masterpiece on his hands. It certainly whets your appetite for Volume 2, though I'm thankful I've got until February to rest, wipe the blood off my face, and mentally prepare for another round.

RATING: [][][][]

Can you spear me now?

Jeremiah Kipp: "the epitome of soullessness"The Miramax hype machine was working overtime on Kill Bill, breaking Quentin Tarantino's epic pastiche of revenge into two volumes. Rather than serve this quasi-retro samurai saga in one three-hour heap, Kill Bill serves itself out in portions. Kill Bill reveals Tarantino as a sham auteur ripping off Hong Kong action flicks and 1970s B-movies for their surface frills. He's the cinematic equivalent of karaoke or bad photocopies, mindlessly adopting style while forgetting the basic precepts of storytelling.

The look of Kill Bill, courtesy of Oliver Stone's ace cinematographer Robert Richardson, neatly approximates the grimy drive-in quality of the Shaw brothers and whoever else Tarantino stumbled upon in the video store and the midnight showcase. But it only serves to highlight the vapidity of Kill Bill, a movie without characters and a plot in spin-cycle. Volume 1 offers us five out of the ten chapters detailing the revenge of a gung-ho assassin named The Bride (Uma Thurman). Her former teammates, led by Bill (David Carradine, mostly absent from Volume 1), attempt to blow her away at her wedding -- and kill all the wedding guests and her fiancée in the process. They fail, and when The Bride wakes up from her coma she's ready to kick some ass.

That's pretty much all you need to know about Kill Bill. The arbitrary chapters leap back and forth in time, and could be shuffled together in any order approximating the same thing: mindless, vapid slaughter. Chapter One: This bad angel swoops in to open up a can of whoop-ass on Los Angeles housewife/psycho killah Vernita Green (Viveca A. Fox). Before we've built up any interest or sympathies, The Bride and Vernita go mad-dog-crazy, smashing up furniture (and each other) in a domestic bloodbath.

Hold the phone for one moment. QT is getting a rise out of the slaughter, but there are at least five problems to be seen right off the bat. 1) He's replicating action scenes he's seen before, and working so hard at being cool (kittenish one-liners; been-there-done-that spin kicks; surprise gunshots) that you come to realize, you shouldn't have to work at being cool. 2) Vernita's four-year-old daughter wanders into the fray, and the two fighters politely stop and wait for her to go to her room. Its fake polite, and the child actor is directed so poorly it's as though she's an automaton. Mommy might get killed, but what's on TV? That's not just stupid -- it's simplistic. 3) Uma Thurman lacks the screen presence of a charged Charles Bronson or Bruce Lee; her aquiline nose and lanky body are better suited for modeling than dealing out death. 4) QT clearly gets off on girls fighting each other, but he lacks adult sensuality in favor of a teenager's drool. 5) The outcome of the match is inconsequential, since The Bride and Vernita are both presented as unsympathetic, detached, and cold blooded.

QT obviously learned nothing from the best scenes of Jackie Brown, which weren't the shootouts. They were the slow-developing relationship between screen icons Pam Grier and Robert Forster, who brought a warmth and humanity to QT's hipster-isms. That's drained bone dry in Kill Bill. Tarantino shows how much he's familiar with other movies, without crafting one of his own: The Bride drives around a gaudy car called the "Pussy Wagon"; villainess Lucy Liu slices off an enemy's head after delivering a lengthy monologue on mob etiquette; Liu's gang includes a Japanese schoolgirl minx. And at the end of the day, big deal! Tarantino assembles a list of his favorite things, and nearly breaks his arm patting himself on the back for it. His smugness infects every scene, and Kill Bill becomes a joyless joy ride through a fan boy's world. Who wants to see a movie made by Comic Book Guy from The Simpsons?

The epitome of soullessness is The Bride battling her way through Lucy Liu's gang in the already over-appreciated "House of Blue Leaves" sequence. Notorious? Hardly. It's a padded version of the Black Knight scene from Monty Python and the Holy Grail, with limbs and spurts of blood flying through the air as The Bride kills everybody. There's no recklessness to it. Everything's too prescribed, too self-aware, too cool, and therefore too aloof and detached to be actually, God forbid, fun. When Uma Thurman and Lucy Liu run through the "Silly rabbit, Trix are for kids!" dialogue from Saturday morning cartoon commercials, it's a meaningless bit of hipster jargon that has nothing to do with anything. That's infuriating, because Kill Bill says in that moment that it's about nothing other than posing. Will audiences care, and will they line up for more flotsam and jetsam in Kill Bill Volume 2?

Don't give Harvey Weinstein, Miramax, and Quentin Tarantino the satisfaction of ripping you off. They're charging you twice as much for an incomplete movie, a soulless riff, a hipster machine coasting on the tired fumes of Tarantino's former glory. Jack Black talks about The Man in The School of Rock, saying that we should fight The Man and reclaim our independence. Well, independent film in the form of Quentin, Harvey, Miramax and Kill Bill is The Man. Don't let them sucker you.

RATING: []

Aka Kill Bill: Vol. 1.

The DVD offers scant extras, including two live performances by The 5, 6, 7, 8s (the trio of Japanese girls that perform at the House of Blue Leaves) and the usual making-of documentary, wherein Uma Thurman promptly misinterprets the movie by telling us it's about redemption. (Sorry Uma, it's about revenge. "Redemption" is doing something good to atone for past sins, not killing a bunch of people out of spite.) I guess you'll have to wait for the box set to get the real extras!

Teaching Mrs. Tingle Review


OK
Once upon a time there was a writer named Kevin, who wanted to make a big splash in Hollywood. He wrote a movie called Killing Mrs. Tingle, which didn't sell, so he tried again. The next time he wrote a movie called Scream, which single-handedly revived the horror genre, paving the way for big horror flicks... and even small ones like The Blair Witch Project.

And then he made a TV show called Dawson's Creek, which was also a huge success. And another horror flick. And Scream 2. And then this writer was the hottest thing on Sunset Blvd., and even Killing Mrs. Tingle started to look good. Miramax bought it. They even let the guy direct.

Continue reading: Teaching Mrs. Tingle Review

Hendrix Review


OK
Wood Harris does an admirable job at portraying the late, legendary Jimi Hendrix, but VH-1's Behind the Music has more depth than this tepid docudrama. Showing Hendrix as a musical genius but utterly lacking any business sense, Hendrix gives us little more than a bunch of women and a procession of drugs to mark the life of one of the biggest musical pioneers of our time. Why waste 20 minutes cutting back and forth to footage of an "interview" with Hendrix before his death? Show the man's life!

Continue reading: Hendrix Review

Double Take Review


Bad

Somewhere between "The Fugitive," "Bad Boys" and "Beverly Hills Cop" lies the plot of "Double Take," an action-comedy that's deadly short on both action and comedy.

Orlando Jones ("Make 7-Up yours!") stars as a posh Manhattan investment banker, with a supermodel girlfriend, who becomes a hunted man in an unnecessarily complex conspiracy of FBI and CIA agents when he discovers a $1.6 million irregularity in the accounts of a Mexican soda pop company -- his firm's biggest client -- and accidentally exposes the company as a drug front.

Because he's too stupid to ask questions of people who flash badges, he's soon on the run, trying to get to Mexico where a CIA spook has promised to protect him -- as if the CIA hasn't any branch offices in New York.

Continue reading: Double Take Review

Kingdom Come Review


Good

Director Doug McHenry strikes an impressively deft balance between slapstick and subtlety, satire and sincerity in the dysfunctional family funeral comedy "Kingdom Come."

Combining earnestly conflicted devotion with over-the-top raillery in much the same way "All In the Family" once did, the story concerns a clan called the Slocumbs gathering in their rural home town to say goodbye to an irascible patriarch. Daddy Bud, as he was known, was so universally disliked that his wife (Whoopi Goldberg) actually wants his headstone engraved with the eulogy "mean and surly."

The dead man's eldest son Ray Bud (LL Cool J) was probably closest to him, but his most vivid memory is of Daddy Bud ridiculing him over his drinking problem -- a problem he licked some time ago, although the stress of the funeral may cause a relapse.

Continue reading: Kingdom Come Review

Little Secrets Review


OK

A movie about a teenager that wouldn't have credibility with anyone over the age of 12, "Little Secrets" is something akin to a Wonderful World of Disney special -- harmless, wholesome and just barely winning enough to overcome its fantasy-suburban, Norman Rockwell nature.

It's the story of Emily (Evan Rachel Wood, also in this week's "Simone"), a pretty 14-year-old who is at an age when her priorities are moving toward pursuing her gift for the violin and away from her lemonade-stand style "business" as a professional confessor. For 50 cents per secret, intelligent, outgoing Emily has provided confidentiality and advice to neighborhood kids who have broken parents' favorite trinkets, smuggled kittens into their bedrooms or posed as their big sisters in online chat rooms.

The pat-on-the-head plot revolves both around Emily's friendship with Philip, an 11-year-old new neighbor who has a crush on her (played by Michael Angarano, the pre-teen William Miller in "Almost Famous") and around her upcoming audition for a youth orchestra. But at the same time, her secret-keeping is becoming a burden, as she starts hearing mea culpas she wishes she hadn't -- like the fact that Philip's petulant proto-boy-band cute older brother (David Gallagher) was in a joy-riding accident with a friend who had been drinking. Emily's disproportionately piqued reaction to this tidbit hints heavily at a secret of her own that the rest of the movie builds toward revealing.

Continue reading: Little Secrets Review

Idle Hands Review


Zero

If the director, the writers, the actors and the lobotomized studio execthat greenlighted "Idle Hands" were to spend every day of therest of their lives being dunked head first into mountains of fresh manure,it wouldn't be punishment enough for making this movie.

Yet another clumsy, shapeless teen horror-"comedy,"about a teenage boy whose possessed hand drags him along on a gory killingspree, "Idle Hands" is wholly devoid of taste, wit or even asingle creative or interesting moment. The only way this flick could seemany worse would be if, say, the studio had locked themselves into a releasedate that happened to fall a week after an actual teenage killing spreethat horrified the whole country.

Continue reading: Idle Hands Review

Teaching Mrs Tingle Review


OK

"Teaching Mrs. Tingle" was the first screenplay ever written by Kevin Williamson, the scribe of "Scream," "Dawnson's Creek" and "The Faculty." And it shows.

His scripts have never been all that solid -- just clever and creatively ironic -- and the habitual, but somehow forgivable, faults of his other movies (massive plot holes, easy outs the characters are too dumb to take) are all the more conspicuous in this old script pulled out of mothballs for the writer's directorial debut.

But, like most of Williamson's work, "Tingle" is a guilty pleasure, the kind of dumb fun picture people loathe to admit they like.

Continue reading: Teaching Mrs Tingle Review

Vivica A Fox

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Vivica A Fox

Date of birth

30th July, 1964

Occupation

Actor

Sex

Female

Height

1.70




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Vivica A Fox Movies

Independence Day: Resurgence - Teaser Trailer

Independence Day: Resurgence - Teaser Trailer

Everyone knows the tale of David Levinson and Captain Steven Hiller, the two men at...

Black November Movie Review

Black November Movie Review

Nigerian filmmaker Jeta Amata clearly feels passionate about the problems in his country, but despite...

Home Run Trailer

Home Run Trailer

Cory Brand may be a hero when it comes to professional baseball, but when it...

The Slammin' Salmon Trailer

The Slammin' Salmon Trailer

Watch the trailer for The Slammin' Salmon When Cleon Salmon's career as a...

Ella Enchanted Movie Review

Ella Enchanted Movie Review

Ella Enchanted is a familiar fairytale: a young woman must overcome an extreme set of...

Juwanna Mann Movie Review

Juwanna Mann Movie Review

Hollywood's latest cross-dressing comedy comes from Warner Bros., a studio that up until now has...

Double Take Movie Review

Double Take Movie Review

New year, new pile of movies straight from the Hollywood dumping ground of badly test-screened,...

Two Can Play That Game Movie Review

Two Can Play That Game Movie Review

Two Can Play That Game turns love into a brutal battleground of the sexes....

Boat Trip Movie Review

Boat Trip Movie Review

Directors, screenwriters, and everyone else involved in making a movie have a singular task: make...

Kingdom Come Movie Review

Kingdom Come Movie Review

When LL Cool J stars in a movie with a title like Kingdom Come, you...

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