King Kong:movie review

***3/4/*****
Director Peter Jackson is back with another 3 hrs extravaganza
Well the most crtically acclaimed movie of hollywood in recent times doesnot seem to meet the hype.But it had enough to grab your attention throughout

Set in the 1930s, this is the story of a young and beautiful actress Ann Darrow from the world of vaudeville who finds herself lost in depression-era New York and her luck changes when she meets an over-ambitious filmmaker Carl Denham who brings her on an exploratory expedition to a remote island where she finds compassion and the true meaning of humanity with an ape Kong. The beauty and the beast finally meet their fate back in the city of New York where the filmmaker takes and displays the ape in quest of his fame by commercial exploitation which ultimately leads to catastrophe for everyone including a playwright Jack Driscoll who falls in love with Ann and plays an unlikely hero by trying to save her from Kong and her destiny.

Performancewise Jack Black delivers good performance.Adrien broody is ok in his role.Naomi watts delivers an excellent performance.Whether its emotional or funny she rocks.
But the scene stealer is King Kong itself

If people thought that Jurassic Park adventure was the best of its type think again.The special effects are splendid and rocking than ever.Awesome and breathtaking seems to be too low keywords to explain it.Peter Jackson proves he is not limited to Lord Of The Rings triology.And there cant be end of best special effects
However the biggest drawback seems to be its length.It should have been cut short.

Inspite King Kong is a mammoth movie in terms of production and you can see the flow of money in movie
A must watch.Especially if you like special effects movies then you cant miss this one

3.75/5

Harry Potter and the Goblet of Fire Review

***1/2/*****
Well one of the most awaited muvy of the year finally released.

The fourth muvy in series is the darkest and most scariest muvy in the potter series.This muvy in the series ud be little difficult for the childrens which means a dip in its bo gross.From begining to end this muvy is dark.

Harry's fourth summer and the following year at Hogwarts are marked by the Quidditch World Cup and the Triwizard Tournament, in which student representatives from three different wizarding schools compete in a series of increasingly challenging contests. However, Voldemort's Death Eaters are gaining strength and even creating the Dark Mark giving evidence that the Dark Lord is ready to rise again. In the unsuspecting lives of the young wizard and witches at Hogwarts the competitors are selected by the goblet of fire, which this year makes a very surprising announcement: Hogwarts will have two representatives in the tournament, including Harry Potter! Will Harry be able to rise to the challenge for the Tri Wizard Tournament while keeping up with school or will the challenges along with Voldemort's rebirth be too much for the young hero?



Now potter and other characters have grown up in this muvy.
Basically this muvy marks the return of Dark Lord voldermart.His return is spectacular and breathtaking making him the most legendary villains after Darth Vader of star wars on the 70mm screen.He arrives in the climax in style but his role is short.But he will be from the begining in 5th part making it most awaited muvy

The special effects are stunning and the visuals have been great as always.The triwizard tournament is here.The dragon chase,rescuing of potter's friend from under water is not only breathtaking but spectacular also.Potter have given a matured performance.Emma watson looks gorgeous than ever in this muvy but her role is bit short in this muvy.
Brendan Gleeson is good in his role

This muvy is on par with Harry Potter 1 and 2.But the 3rd part is still the best in the series.The creativeness and thinking brought in 3rd part cant be touched here.However the special effects takes place here.

A must watch not only for potter fans but for others also.3.75/5

A movie called Forrest Gump

*****/*****

Many of you have heard of this movie.Many of you have seen this movie. Forrest gump directed by Robert Zemeckis is a classic.Winner of 6 oscar awards including best picture,actor and director this movie takes you to a dream.

I have been big fan of Tom Hanks.I was eager of watching this movie previously too but never got the chance.My friends who have seen it before called it classic some called it slow.But yesterday finally i watched it.

Forrest Gump (Hanks), named after a civil war hero, grows up in Greenbow, Alabama, where his mother (Sally Field) runs a boarding house. Although Forrest is a little "slow" (his IQ is 75, 5 below the state's definition of "normal"), his mental impairment doesn't seem to bother him, his mother, or his best (and only) friend, Jenny Curran (played as an adult by Robin Wright). In fact, the naivete that comes through a limited understanding of the world around him gives Forrest a uniquely positive perspective of life.

During the next thirty years, Forrest becomes a star football player, a war hero, a successful businessman, and something of a pop icon. Through it all, however, there is one defining element in his life: his love for Jenny. She is never far from his thoughts, no matter what he's doing or where he is.

Forrest gump is a masterpiece.A noble and beautifull story which touches your heart.We hardly find any movies in hollywood which being slow and without special effects becomes blockbuster.Forrest Gump is among one of those rare gems.

There are movies and movies but only sometimes you find a movie which stays in your heart and becomes one of your all time favourites.I have to search for words how to describe such a magical movie.

And finally Forrest Gump would have never been a forrest gump without Tom Hanks.Playing the character of Forrest Gump he is incredible.His performance was just out of the world.One of the best performances given by any actor ever.I cant find out words to describe how great his performance was.Just look at his expressions in the scene in end when he says'I miss you Jenny..If there is anything you need i wont be far away'.Totally unforgottable.Even stone hearted people would melt.

I gave this review here cause i wanted everyone who have not seen this movie to know how beautifull and magical forrest gump is.A must watch for everyone

...........A timeless classic

Serenity:***1/2/*****

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This is only the second time it has happened. By "it," I'm referring to the process by which a science fiction television show is canceled, becomes a cult hit after its removal from the air, and is brought back to life as a major motion picture with the original cast. Serenity, Joss Whedon's follow-up to his defunct TV project Firefly, thus enters rarefied territory. The only other franchise to make such a lofty claim is Star Trek. (To be fair, X-Files did something similar, although it was still on the air when the movie reached theaters.) The box office numbers will determine where the Firefly characters go from here: to a sequel, to a new TV series, or to the dusty part of a DVD shelf.

One question that's impossible to answer for a Firefly fan is whether the film works on its own. To that end, I have avoided the TV series for the sake of this review. I have been tempted to sample it (opportunities abound), but have avoided doing so. My goal with this review is to present the perspective of someone who appreciates science fiction but has never been exposed to Joss Whedon's universe (I never saw Buffy or Angel, either). Fan reviews have flooded the 'net. This is an opportunity for a different point-of-view.

Serenity is a fast-paced, engaging science fiction adventure tale. The emphasis should be on "adventure;" the "science fiction" just gives Whedon (making his directorial debut) an interesting canvas to paint upon. In many ways, the film is old-fashioned. The space-ships are not sleek and streamlined - they're hunks of junk being held together by paperclips and masking tape. The characters talk like they learned English in the 19th century Old West (with occasional Chinese curses thrown in for good measure). And guns fire bullets, not laser blasts. This is one of the key elements that separates the Star Trek camp from the (new) Battlestar Galactica one. Serenity falls in the latter, "retro" category.

The storyline is set up economically, albeit with a little too much starting exposition. A 17-year old telepath named River (Summer Glau) is being manipulated by this universe's version of the Evil Empire (called the Alliance) to become a weapon. She is rescued by her brother, Simon (Sean Maher), and the two seek refuge upon the mercenary ship Serenity. The ship is captained by Malcolm Reynolds (Nathan Fillion), a war veteran who is more compassionate than he lets on. His crew consists of his second-in-command, Zoe (Gina Torres); her husband and the ship's pilot, Wash (Alan Tudyk); Kaylee (Jewel Staite), an engineer who's prettier than Scotty; and Jayne (Adam Baldwin), a tough-talking bruiser. At first, having River and Simon on board doesn't seem to be a problem, but Simon's unwillingness to take orders and River's increasing mental instability generate friction. Then a real problem becomes apparent: River is being pursued by one of the Alliance's elite operatives (Chiwetel Ejiofor), and he will stop at nothing to eliminate her. This puts the crew of Serenity in the cross-hairs of a galactic showdown.

For a two-hour movie, the characters - even the secondary ones - are remarkably well-drawn. The ones with the most screen time and opportunity to establish themselves are Mal and River. Kaylee and Simon have a coy romantic subplot. Jayne gets all the good one-liners. Wash and Zoe don't have a lot to do, but I assume they had their moments in the TV series. The newcomer is the Operative, and he's about as interesting as villains get. This guy isn't your usual run-of-the-mill megalomaniac or battle-hardened warrior. His motives may be simple, but his characterization isn't. As played by talented actor Chiwetel Ejiofor, he is arguably Serenity's greatest asset.

The characters and circumstances reminded me of the late '70s/early '80s British science fiction series Blake's 7. There, as here, there's plenty of tension amongst the crewmen. Some are more in the crusader mold than others. Some are in it purely for the money. Some are affable, some are antisocial. And there's plenty of bitterness, anger, and resentment to go along. Comparing Serenity to Blake's 7 is compliment, since I consider the earlier TV show to be the best science fiction program ever to appear on the small screen. There are similarities, and those represent strengths for both franchises.

There are plenty of special effects, including an impressive space battle that, while not on the same level as the one that started off Revenge of the Sith, is nice enough in its own right. But Serenity isn't about effects. It's about narrative and characters, and it does a solid job in both areas. Whedon propels the story along at a breakneck pace, but keeps it smooth enough that we never get lost, and occasionally pauses to allow for character interaction. There are plenty of "fan moments," but they don't interfere with the overall viewing experience. And there are times when the unexpected occurs. Being space mercenaries harboring a fugitive can be a dangerous business, and Whedon doesn't shirk from bringing death into this movie.

The film leaves open the possibility of future adventures - whether they materialize remains to be seen. Whedon went all-out for the fans with Serenity, including going so far as to hold special pre-release screenings in the late spring. (The final cut was reportedly tweaked based on audience response.) For the average movie-goer, the movie may not have the same emotional resonance it achieves for Firefly aficionados, but those who enjoy science fiction adventure will find plenty to appreciate. It's self-contained and entertaining - arguably the two things most necessary for Serenity to soar.

A Histor Of Violence

Rating:***1/2/*****

David Cronenberg says his title "A History of Violence" has three levels: It refers (1) to a suspect with a long history of violence; (2) to the historical use of violence as a means of settling disputes, and (3) to the innate violence of Darwinian evolution, in which better-adapted organisms replace those less able to cope. "I am a complete Darwinian," says Cronenberg, whose new film is in many ways about the survival of the fittest -- at all costs.

The movie opens in a small Indiana town. Tom Stall (Viggo Mortensen) runs one of those friendly little diners that acts as the village crossroads and clearing-house. He's the kind of guy everybody likes, married to a lawyer named Edie (Maria Bello), father of the teenager Jack (Ashton Holmes) and young Sarah (Heidi Hayes). He has one of those middle American accents in which every word translates into "I'm just folks."

So persuasive are the opening scenes that we wonder if Cronenberg has abandoned his own history of violence and decided to make a small-town slice of life: a Capra picture, perhaps, with Viggo Mortensen as Jimmy Stewart. Then all hell breaks loose. Two tough guys enter the diner to try a stickup. They have guns, mean business, threaten the customers and a waitress. Moving so quickly he seems to have been practicing the scene as choreography, Tom Stall takes out the two guys and ends up on the local front pages as a hero.

He makes a shy hero. He doesn't want to give interviews or talk about what he has done, and there are strained moments in his household as his wife worries about a seismic shift in his mood, and his son can't understand an unstated change in their relationship. Read no further if you want to preserve the reasons for these changes.

Tom Stall, as it turns out, has a secret he has been guarding for 20 years. He is not named Tom Stall but Joey, is not from Indiana but from Philadelphia, has tried to start a new life in a small town and failed because of this unexpected publicity. Soon more strangers arrive in town: Carl Fogarty (Ed Harris) turns up with two hard men in his employ. Something really bad has happened to Carl earlier in life, and we don't want to know how his face got that way.

Tom Stall has transformed himself so completely into a small town family man that maybe there were years when he believed the story himself. The arrival of Fogarty makes that an illusion impossible to sustain, and he must return to Philadelphia and to an extraordinary scene with a man named Richie Cusack (William Hurt), whose role in Tom (or Joey's) life I will leave for you to discover. Let me say that Hurt has done a lot of good acting in a lot of intriguing roles, but during his brief screen time in "A History of Violence" he sounds notes we have not heard before.

Another important element in the plot involves the Stall family, especially Edie the wife and Jack the son. What do you do when you discover that your husband or father has concealed everything about his early life? Was he lying to you, or protecting you? Did you love someone who did not really exist?

Cronenberg is a director with a wide range, usually played by the left hand. He has ventured into horror, the macabre, science fiction, satire and the extremely peculiar. In his 2003 film "Spider," he starred Ralph Fiennes as a mental patient in a halfway house whose reality balances between everyday details and haunting memories of his past. "Dead Ringers" (1988) has Jeremy Irons in a dual role as twins, one not so nice, the other not so nice, either. "Dead Zone" (1983) has Christopher Walken losing five years of his life and becoming a different kind of person. These shifts in personal reality seem fascinating to Cronenberg.

But what is Cronenberg saying about Tom, or Joey? Which life is the real one? The nature of Joey's early life was established by the world he was born into. His second life was created by conscious choice. Which is dominant, nature or nurture? Hyde, or Jekyll? Are we kidding ourselves when we think we can live peacefully? Is our peace purchased at the price of violence done elsewhere? In "A History of Violence," it all comes down to this: If Tom Stall had truly been the cheerful small-town guy he pretended to be, he would have died in that diner. It was Joey who saved him. And here is the crucial point: Because of Joey, the son Jack, makes discoveries about himself that he might not have ever needed (or wanted) to make.

"A History of Violence" seems deceptively straightforward, coming from a director with Cronenberg's quirky complexity. But think again. This is not a movie about plot, but about character. It is about how people turn out the way they do, and about whether the world sometimes functions like a fool's paradise. I never give a moment's thought about finding water to drink. In New Orleans a few weeks ago, would I have been willing to steal from stores or fight other people for drinkable water? Yes, if it meant life for myself and my family. But I would have made a pitiful thief and fighter, and probably would have failed.

Since I am wandering, let me wander farther: At the Toronto Film Festival I saw a screening of "Nanook of the North," the great documentary about Eskimos surviving in the hostile arctic wilderness. They live because they hunt and kill. Of the three levels "A History of Violence" refers to, I think Cronenberg is most interested in the third, in the survival of the fittest. Not the good, the moral, the nice, but the fittest. The movie is based on the graphic novels by John Wagner and Vince Locke. It could also be illuminated by The Selfish Gene, by Richard Dawkins. I think that's why Cronenberg gives his hero a son: To show that Jack inherited what he did not ever suspect his father possessed.

Movie review:Transporter 2

**1/2/*****

France/United States, 2005
U.S. Release Date: 9/2/05 (wide)
Running Length: 1:23
MPAA Classification: PG-13 (Violence, sexual content, partial nudity)
Theatrical Aspect Ratio: 2.35:1
Cast: Jason Statham, Alessandro Gassman, Amber Valletta, Katie Nauta, Matthew Modine, Jason Flemyng, Keith David, Hunter Clary
Director: Louis Leterrier
Producers: Luc Besson, Steve Chasman
Screenplay: Luc Besson & Robert Mark Kamen
Cinematography: Mitchell Amundsen
Music: Alexandre Azaria
U.S. Distributor: 20th Century Fox

I don't have a lot to say about Transporter 2. It's a sequel that outdoes the original in terms of flair and outrageousness, but it will appeal to much the same audience. If James Bond is too tame for you, Frank Martin (Jason Stratham) is your man. This guy is so suave, he keeps an extra suit in his trunk in case he gets blood on his current one. His adventures are lifted directly from the pages of comic book, with little consideration for prohibitions imparted by the laws of physics. Like logic, that sort of thing doesn't apply here. Transporter 2 delights in placing the main character in precarious situations, then having him use the most unlikely (not to mention unbelievable) methods to escape.

The key to the film working is that the filmmakers understand this is all ridiculous, and, while they don't play the movie strictly for laughs (nor is it intended to be a parody), they recognize that there needs to be a little tongue in cheek. Lead actor Jason Stratham is perfect for the part; what Frank lacks in depth (he has no backstory), he more than makes up for in charisma. Stratham never cracks a smile; when he makes a dire pronouncement, we tend to believe him.

This time around, Frank, a.k.a. "The Transporter," is protecting a different kind of package - a little boy by the name of Jack Billings (Hunter Clary). Jack is the son of a pharmaceuticals CEO (Matthew Modine), who is separated from his wife, Audrey (Amber Valletta). A group of good-for-nothing thugs are out to kidnap Jack. They include the deadly Lola (Katie Nauta), who likes firing guns while dressed in lingerie, and her lover, Gianni (Alessandro Gassman), who amuses himself by beating up his henchmen in hand-to-hand combat. At first, it looks like Frank saves Jack from stumbling into a trap, but when the Transporter makes a mistake, the bad guys are ready to capitalize on it.

Transporter 2 is almost all action, all the time, from opening titles to end credits. There are brief breaks - these are necessary for exposition, plot advancement, and horrible overacting by Matthew Modine, who plays the kidnapped boy's father. The scheme of the kidnappers, which is more complex than one might initially assume, is equal parts audacious and ludicrous. Once the truth is revealed, however, the movie doesn't pause long enough for the audience to contemplate how irrational it is. Instead, it moves smoothly to the next action sequence. Transporter 2 features plenty of martial arts fights (including one that's a ten-on-one affair) and chase scenes (most of which end with some vehicle - not necessarily a plane - airborne).

In The Transporter, Frank lived by three rules. In Transporter 2, he also lives by precepts, but this time there are four of them, and they're different than in the original. There's also a little more emotional content this time around (presumably to counterbalance the outlandishness of the action sequences). Frank and Jack have a relationship, and, after Jack is snatched, some of what occurs echoes Man on Fire.

Luc Besson, the French filmmaker who makes Hollywood-style movies, is the co-writer and co-producer of Transporter 2 (he served similar functions on The Transporter). Although Besson often directs, in this case he has ceded the job to Louis Leterrier, whose only other big screen credit is the Jet Li vehicle, Unleashed (also written by Besson). Leterrier knows how to film fight scenes. There's plenty of energy as Statham kicks, punches, and clobbers his way through wave after wave of foes. For fans of The Transporter, Transporter 2 offers what you're after - loud, kinetic, unflinching action. In essence, it's more of the same.

The Brothers Grimm:Movie Review

Terry Gilliam rarely has it easy making movies. Whether its his unfinished Don Quixote or the brilliant Brazil, the suits always want him to change things. The Brothers Grimm, with the shots called by the brothers Weinstein, is no exception.

The $80 million biopic, starring Matt Damon as the skeptical Will Grimm and Heath Ledger as his susceptible brother Jacob, is so loosely based on the nineteenth-century German siblings who wrote Hansel and Gretel, Little Red Riding Hood and other famously grim fairy tales that there's hardly a word of truth in it.

If you're a Gilliam junkie, as I am, you go with it, even when the script by Ehren Kruger (The Skeleton Key) loses its shaky hold on coherence. Damon quickly loses his hold on his accent and his wig. Ledger fares better as the nerdy brother who goes along with Will's plan to scam German villagers with fake witches that the boys banish for a fee. But Jake keeps looking for real magic.

Ledger lets us see the hope in Jake's eyes when the brothers enter a forest ruled by a genuinely evil Mirror Queen (Monica Bellucci). It's Gilliam's chance to run amok, and watching him do it is eye-popping fun.

Gilliam is Jake at heart, and it's a treat to see this former Monty Python (the troupe's only American) fart in the general direction of the Age of Reason in the persons of French governor Delatombe (Jonathan Pryce, pure ham and fromage) and his Italian henchman Cavaldi (an untamed Peter Stormare). Even when Gilliam flies off the rails, his images stick with you.

PETER TRAVERS

The Skeleton Key :Movie Review

Rating:***/*****
BY ROGER EBERT / August 12, 2005

In the real world, motorists get their gas at shiny 24-hour travel plazas, many of them incorporating Taco Bells and sales on the latest cassettes by

Jeff Foxworthy. Not in horror movies, where the Chainsaw Family lurks in the shadows behind the cash register and cackles unwholesomely about newcomers.

The visitor in this case is Caroline (Kate Hudson), a nurse who grows despondent when a beloved patient dies, and quits her hospital job and sign on as private care giver. Her first job pays $1,000 a week, which right there should send up a flare, especially since several earlier employees have quit. She meets a lawyer named Luke (Peter Sarsgaard), and he sends her on to his client, an old lady named Violet (Gena Rowlands). She has lived in the decaying mansion since 1962, "when we came over from Savannah." Now her husband Ben (John Hurt) has suffered a stroke and can't talk. But he sure can look like he really wants to tell Caroline something.

The big house has rooms Ben and Violet have never used. Caroline is given a skeleton key that opens all of them, except, wouldn't you know, a door in the attic. This door rattles loudly, as if someone is locked inside; the Self-Rattling Door is a variation on the Snicker-Snack Rule, which teaches us that in horror movies a knife will all by itself make a sound like it is being scraped on metal, even when it isn't. All movies with self-rattling doors and/or knife self-scraping sounds also contain Unexpected Foreground Surprises, when the heroine is terrified because a character (or a cat) suddenly leaps up out of nowhere.

The opening scenes of the movie promise a degree of intelligent menace that few movies could live up to, including this one. But it works while it's happening. Gena Rowlands, looking far less elegant than when she played James Garner's fading Southern love in "The Notebook," distrusts Caroline: "She wouldn't understand the house," she tells her lawyer. But then again, who would? And what's to understand?

Old Ben, meanwhile, grabs Caroline's wrist in a deathly grip, and really, really has something on his mind. Although he uses a wheelchair, one evening during the nightly monsoon she finds him missing from his room. He has crawled out of his window and onto the porch, and falls to the ground, for reasons that seem clearer at the time than they do later. Carolina becomes convinced that Violet is a threat to Ben, and tries to help him escape, ramming her VW into the big old iron gates, which are mysteriously locked.

Underlying all of these alarms is a local practice known as Hoodoo, not to be confused with voodoo. Hoodoo, we learn is American folk magic incorporating incantations, conjurations, herbal remedies and suchlike; voodoo is a religion, Caroline is told, but "God don't have much to do with Hoodoo." From Violet, she hears the story of Papa Justify (Ronald McCall) and his wife, Mama Cecile (Jeryl Prescott Sales), who were servants at the plantation 90 years ago, and how their Hoodoo practices got mixed up with the rich family that owned the house.

"The Skeleton Key" is one of those movies that explains too much while it is explaining too little, and leaves us with a surprise at the end that makes more sense the less we think about it. But the movie's mastery of technique makes up for a lot. Kate Hudson is convincing as the young nurse determined to help her patient, Gena Rowlands is awesome in the Joan Crawford role, and John Hurt, who says not a word, semaphores whole dictionaries with his eyes.

There's a kind of moviegoer who likes a movie like this no matter how it ends. It's about the journey, not the destination, even though the ending of "The Skeleton Key" really is a zinger. It's just that -- well, what did a lot of the other stuff have to do with anything? How do all the omens and portents and unexplained happenings connect? And what's the deal with Hoodoo? It doesn't work unless you really believe in it, we're told, but if you really do, it really does. Considering what happens when you do, I think it's better if you don't.

Besides, I believe things either work or don't work whether or not you think they can. Especially things that God don't have much to do with.

FOUR BROTHER:Movie Review

Rating:***/*****

There's a shoot-out between critics over John Singleton's Four Brothers that rivals anything seen in the movie itself. Roger Ebert of the Chicago Sun-Times bestows three stars on the movie and remarks that while it "wants basically to be an entertainment ... it deliberately makes the point that in an increasingly diverse society, people of different races may belong to the same family.

" (The point is embodied by the four brothers of the title, two white and two black, raised by a white foster mother who is murdered at the outset of the film.) Glenn Whipp in the Los Angeles Daily News describes it as "a rousing revenge flick that delivers the goods with a mixture of tight action, vivid performances and an old-school soundtrack that evokes the best of blaxploitation cinema.

" Lisa Kennedy in the Denver Post remarks that the film might be criticized as old-fashioned, then adds: "Listen up: If old-fashioned is just code for leaving the theater smiling, sign me up." Like several other critics, Carrie Rickey in the Philadelphia Inquirer thinks of the film as a kind of contemporary B-movie. "It's your basic patter, car chase and shootout.

No big budget, stars, or computer-generated tricks. Like cheap booze, it does the job," she writes. But Stephen Holden in the New York Times describes the movie as an "atmospheric, propulsive and ultimately preposterous melodrama.

" Ty Burr blames Singleton for the film's problems. "Grubby to look at and edited with a rusty knife, it's a bumptious, low-rent ride and further proof that Singleton, for all his status and acclaim, doesn't have impressive filmmaking chops," he comments. Kyle Smith in the New York Post is less guarded in his review, writing "Four Brothers? Ringling Brothers is more like it, because John Singleton's latest stinks like something the elephants left behind."

Movie Review:SKY HIGH

Sky High

A Film Review by James Berardinelli

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***1/2/*****
United States, 2005
U.S. Release Date: 7/29/05 (wide)
Running Length: 1:38
MPAA Classification: PG (Violence)
Theatrical Aspect Ratio: 2.35:1

Cast: Michael Angarano, Danielle Panabaker, Mary Elizabeth Winstead, Kurt Russell, Kelly Preston, Steven Strait, Dee Jay Daniels, Nicholas Braun, Kelly Vitz, Bruce Campbell, Lynda Carter
Director: Mike Mitchell
Producer: Andrew Gunn
Screenplay: Paul Hernandez and Bob Schooley & Mark McCorkle
Cinematography: Shelly Johnson
Music: Michael Giacchino
U.S. Distributor: Walt Disney Pictures

Initially, Sky High looked like it was going to be one of the summer's throw-away movies - a family comedy with suspicious similarities to last year's The Incredibles. Imagine my surprise when I discovered that not only is Sky High too good to be considered a mere "throw away," but, from a pure entertainment perspective, it is arguably the most enjoyable motion picture of the season. Sky High is funny, smart, energetic, subversive, and has a few substantive things to say. There's nothing on director Mike Mitchell's dismal resume to indicate he was capable of crafting such a welcome diversion.

There is a little of The Incredibles to be found in Sky High, but that's not where the cinematic connections end. Other allusions include X-Men, Harry Potter, Spy Kids, and Can't Buy Me Love. The script, credited to a trio of writers (Paul Hernandez, Bob Schooley, Mark McCorkle) succeeds at the tricky task of lampooning a genre while also becoming an entry. The writing is sly and knowledgeable, and chock full of "in" jokes and witticisms in categories ranging from character names ("Warren Peace" - say that aloud) to set design (Bat-poles) to throw-away lines (Lynda Carter saying, "Who do you think I am? Wonder Woman?") No, this isn't Tolstoy, and despite the "Warren Peace," it's not intended to be. But it is perfect for the mood of the film, which is one third comedy, one third action, and one third drama. And, with no sex or profanity, and only a little in the way of cartoon violence, it's appropriate for the whole family.

The central character is Will Stronghold (Michael Angarano), the 14-year old son of the world's two most revered superheroes, Commander (Kurt Russell) and Jetstream (Kelly Preston). In costume, they repeatedly save the day, while hiding behind their secret identities as mild-mannered real estate agents. For Will, it's time to start high school at his parents' alma mater, Sky High - the learning center for people with superpowers. Joining Will is his best friend, Layla (Danielle Panabaker), who has an affinity for plant life. But there's problem - Will hasn't shown any signs of superpowers, and this gets him placed in the "sidekick" class. While there, he has little chance of attracting the girl of his dreams, Gwen Grayson (Mary Elizabeth Winstead), a senior with an affinity for technology. And it doesn't help that one of his teachers, Coach Boomer (Bruce Campbell), doesn't like him. How can Will survive without powers living in his parents' shadow, and how can he find a way to tell his mother and father the truth about his non-existent abilities? And what happens when Commander and Jetstream's arch-enemy hatches a diabolical plan?

For a film as effervescent as Sky High frequently is, the characters are surprisingly well developed. And there are lessons to be learned. Will's experiences with different high school cliques ("heroes" and "sidekicks") are allegorical, and illustrate themes that many pre-teens and teenagers can relate to (alienation, rebellion, etc.). A subplot that has Will turning his back on his friends when the lure of fame and status beckon recalls the storyline of the '80s teen comedy, Can't Buy Me Love. The lesson is the same: popularity is fickle, but true love and friendship last forever.

There are plenty of opportunities for laughter in Sky High, and I won't ruin the surprise of discovery by cataloguing them here. The soundtrack is strong (although there are quite a few covers), with many of the songs used in inventive ways. (Spandau Ballet's "True" being the most striking example.) The real-life difficulties of being a superhero while raising a family are acknowledged, but not overplayed. This does not feel like a rip-off of either Spy Kids or The Incredibles. The special effects are solid - believable when desired and intentionally cheesy when that's called for (such as the robot at the beginning). And the powers of many classic superheroes are represented: Spider-Man, the Flash, Plastic Man, the Human Torch, the Thing, Iceman, and Superman.

The actors are well-cast. Most of the young thespians are fresh faces with limited experience (primarily in TV projects). Michael Angarano, Danielle Panabaker, and Mary Elizabeth Winstead top a list of strong performers who capture the essences of characters that are more compelling than one might anticipate. Steven Strait is suitably James Dean-ish as Warren Peace, Will's nemesis. Better-known actors like Kurt Russell, Kelly Preston, and the always welcome Bruce Campbell miss few, if any, notes. And Kevin Heffernan has a small part (as bus driver Ron Wilson) in which he channels John Candy.

There have been so many disappointments during the summer of 2005 that, upon finding something that exceeds expectations, I want to trumpet its existence. One could successfully argue that Star Wars: Revenge of the Sith and Batman Begins are more complete motion pictures, but it's hard to deny that Sky High has more charm. With likeable characters, an involving and amusing storyline, and solid direction, the film's appeal is hard to deny. Ignore the lame trailers and give Sky High a shot.

© 2005 James Berardinelli

Movie Review:Charlie and the Chocolate Factory

The so-called "chocolate factory" of Willy Wonka (above) does not, in fact, manufacture chocolate exclusively, but other kinds of sugary confections as well.

Charlie and the Chocolate Factory

BY ROGER EBERT / July 15, 2005

***/*****


Cast & Credits
Willy Wonka: Johnny Depp
Charlie Bucket: Freddie Highmore
Grandpa Joe: David Kelly
Mrs. Bucket: Helena Bonham Carter
Mr. Bucket: Noah Taylor
Mrs. Beauregarde: Missi Pyle
Mr. Salt: James Fox
Oompa Loompa: Deep Roy
Veruca Salt: Julia Winter
Violet: Annasophia Robb
Mike Teavee: Jordan Fry
Augustus Gloop: Philip Wiegratz
Dr. Wonka: Christopher Lee

Warner Brothers Pictures presents a film directed by Tim Burton. Based on the book by Roald Dahl. Running time: 115 minutes. Rated PG (for quirky situations, action and mild language).

Now this is strange. "Charlie and the Chocolate Factory" succeeds in spite of Johnny Depp's performance, which should have been the high point of the movie. Depp, an actor of considerable gifts, has never been afraid to take a chance, but this time he takes the wrong one. His Willy Wonka is an enigma in an otherwise mostly delightful movie from Tim Burton, where the visual invention is a wonderment.

The movie is correctly titled. Unlike "Willy Wonka and the Chocolate Factory" (1971), which depends on Gene Wilder's twinkling air of mystery, "Charlie and the Chocolate Factory" is mostly about -- Charlie. Young Charlie Bucket (Freddie Highmore) is so plucky and likable, and comes from such an eccentric and marvelous household, that the wonders inside the chocolate factory are no more amusing than everyday life at the Bucket residence.

The Buckets live in a house that leans crazily in all directions, and seems to have been designed by Dr. Caligari along the lines of his cabinet. The family is very poor. Charlie sleeps in a garret that is open to the weather, and his four grandparents all sleep (and live, apparently) in the same bed, two at one end, two at the other. His mother (Helena Bonham Carter) maintains the serenity of the home, while his father (Noah Taylor) seeks employment. Grandpa Joe (David Kelly) remembers the happy decades when he and everyone else in the neighborhood worked in the chocolate factory.

Alas, 15 years before the story begins, Willy Wonka dismissed his employees and locked his factory gates. Yet the world still enjoys Wonka products; how does Willy produce them? One day, astonishingly, Wonka announces a contest: For the five lucky children who find golden tickets in their Wonka Bars, the long-locked factory gates will open, and Willy will personally escort them through the factory. A special surprise is promised for one of them. Of course Charlie wins one of the tickets, not without suspense.

This stretch of the film has a charm not unlike "Babe" or the undervalued "Babe: Pig in the City." A metropolis is remade to the requirements of fantasy. Tim Burton is cheerfully inventive in imagining the city and the factory, and the film's production design, by Alex McDowell, is a wonder. David Kelly, as Grandpa Joe, is a lovable geezer who agrees to accompany Charlie to the factory; you may remember him racing off naked on a motorcycle in "Waking Ned Devine" (1998). And young Freddie Highmore, who was so good opposite Depp in "Finding Neverland," is hopeful and brave and always convincing as Charlie.

The problem is that this time, he finds Neverland. Johnny Depp may deny that he had Michael Jackson in mind when he created the look and feel of Willy Wonka, but moviegoers trust their eyes, and when they see Willy opening the doors of the factory to welcome the five little winners, they will be relieved that the kids brought along adult guardians. Depp's Wonka -- his dandy's clothes, his unnaturally pale face, his makeup and lipstick, his hat, his manner -- reminds me inescapably of Jackson (and, oddly, in a certain use of the teeth, chin and bobbed hairstyle, of Carol Burnett).

The problem is not simply that Willy Wonka looks like Michael Jackson; it's that in a creepy way we're not sure of his motives. The story of Willy and his factory has had disturbing undertones ever since it first appeared in Roald Dahl's 1964 book (also named after Charlie, not Willy). Nasty and frightening things happen to the children inside the factory in the book and both movies; perhaps Willy is using the tour to punish the behavior of little brats, while rewarding the good, poor and decent Charlie. (How does it happen that each of the other four winners illustrates a naughty childhood trait? Just Willy's good luck, I guess.)

We see the wondrous workings of the factory in the opening titles, a CGI assembly-line sequence that swoops like a roller-coaster. When the five kids and their adult guardians finally get inside, their first sight is a marvel of imagination: A sugary landscape of chocolate rivers, gumdrop trees and (no doubt) rock candy mountains. Behind his locked doors, Willy has created this fantastical playground for -- himself, apparently. As the tour continues, we learn the secret of his work force: He uses Oompa Loompas, earnest and dedicated workers all looking exactly the same and all played, through a digital miracle, by the vaguely ominous Deep Roy. We're reminded of Santa's identical helpers in "The Polar Express."

It is essential to the story that the bad children be punished. Their sins are various; Veruca Salt (Julia Winter) is a spoiled brat; Violet Beauregarde (Annasophia Robb) is a competitive perfectionist; Mike Teavee (Jordan Fry) approaches the world with the skills and tastes he has learned through video games, and Augustus Gloop (Philip Wiegratz) likes to make a little pig out of himself.

All of these children meet fates appropriate to their misdemeanors. I might be tempted to wonder if smaller children will find the movie too scary, but I know from long experience with the first film that kids for some reason instinctively know this is a cautionary tale, and that even when a character is suctioned up by a chocolate conduit, all is not lost.

Charlie and his grandfather join wide-eyed in the tour, and there are subplots, especially involving Violet Beauregarde, before the happy ending. What is especially delightful are the musical numbers involving the Oompa Loompas, who seem to have spent a lot of time studying Hollywood musicals. The kids, their adventures and the song and dance numbers are so entertaining that Depp's strange Willy Wonka is not fatal to the movie, although it's at right angles to it.

What was he thinking of? In "Pirates of the Caribbean" Depp was famously channeling Keith Richards, which may have primed us to look for possible inspirations for this performance. But leaving "Pirates" aside, can anyone look at Willy Wonka and not think of Michael Jackson? Consider the reclusive lifestyle, the fetishes of wardrobe and accessories, the elaborate playground built by an adult for the child inside. What's going on here? Bad luck that the movie comes out just as the Jackson trial has finally struggled to a conclusion.

Movie Review:Must Love Dogs

Must Love Dogs
A Film Review by James Berardinelli 2.5 stars
United States, 2005
U.S. Release Date: 7/29/05 (wide)
Running Length: 1:39
MPAA Classification: PG-13 (Sexual situations, profanity)
Theatrical Aspect Ratio: 2.35:1

Cast: Diane Lane, John Cusack, Elizabeth Perkins, Christopher Plummer, Dermot Mulroney, Stockard Channing, Ali Hills
Director: Gary David Goldberg
Producers: Gary David Goldberg, Jennifer Todd, Suzanne Todd
Screenplay: Gary David Goldberg, based on the novel by Claire Cook
Cinematography: John Bailey
Music: Craig Armstrong
U.S. Distributor: Warner Brothers

Must Love Dogs is a product - a pre-packaged, easily-digestible motion picture designed with one particular audience in mind. You know the kind of film. You have seen it before, usually with names like Nancy Myers or Nora & Delia Ephron involved. Those with ovaries have a better chance of appreciating Must Love Dogs than those with testicles. For some members of the latter group, sitting through this will be akin to having those organs trodden upon. Must Love Dogs is bland and forgettable - a romantic comedy with affable characters and some funny lines, but where love never really takes flight. It fizzles when it should sizzle.

Watch that hand...Sarah (Diane Lane) is a recently divorced woman who is intimidated by the thought of returning to the dating scene. Before the ink is dry on her divorce decree, various members of her family - including her forthright sister, Carol (Elizabeth Perkins), and her father, Bill (Christopher Plummer) - are urging her to get "out there." Carol even goes so far as to put Sarah's profile up at an on-line dating service, which results in a number of supposedly hilarious misfires. (One of these is funny; the rest are re-treads of bad blind dates we have seen in dozens of other movies.) Eventually, she meets Jake (John Cusack), a guy who's different from the losers she has been hooking up with. Jake has the soul of a poet and the verbiage of a philosopher, and, like Sarah, he is still coming to terms with the breakup of his marriage and no longer knows how to date. Their first encounter doesn't go well, but each is willing to try again. A threat to their newly-hatched relationship occurs when Sarah, an elementary school teacher, falls for Bob (Dermot Mulroney), the father of one of her pupils.

The strange thing about Must Love Dogs is that it's funnier than the average romantic comedy (most of which lack true, laugh-aloud humor) but less romantic. There's a great scene in which Sarah and her father are matched up for a blind date. There's a late night quest for an open drug store selling condoms. There are some pointed comments about Dr. Zhivago. And the opening "interviews" are on-target. This stuff works. Sadly, the love affair between Sarah and Jake does not. There are no sparks. They seem better suited to be best friends than lovers, and it shows. Plus, while Sarah is at home in this sort of by-the-numbers movie, Jake is out of place. He's a riff on the character John Cusack played in High Fidelity or Say Anything, and is out of step with writer/director Gary David Goldberg's screenplay. That's not a bad thing - I enjoyed watching Jake - but he's more interesting than the material surrounding him.

The happy coupleMaybe the relationship between Sarah and Jake would have worked if they had been given more screen time together. Unfortunately, Must Love Dogs feels the need to incorporate the age-old contrivance of "romantic complications." In this case, they are provided by Bob, who is supposed to be engaging and charismatic, but is instead boring. Dermot Mulroney looks like he's playing the part under duress. Perhaps it's a symptom of Sarah's desperation that she is attracted to this personality-deprived individual. We don't like or dislike Bob - he's just sort of there, taking up space and screen time, and limiting interaction between the protagonists. This prompts me to raise a quibble I have about romantic comedies: What's wrong with a movie that takes its full 90 minutes to develop a living, breathing relationship between two people? Why clutter things up with superfluous characters whose only purpose is to keep the lovers apart until the end?

Other romantic comedy elements are recycled from the scrap-heap. Both Sarah and Jake have support groups (although Jake's "support group" numbers one) who act as a Greek chorus in critiquing potential partners. There are several cute animals and a cuddly gay couple, who, like most gay couples in movies designed for heterosexuals, avoid anything overtly sexual so as to remain unthreatening. There's a young blond bimbo who has the hots for Jake (just to ensure that the romantic complications aren't one-sided). And the climax involves one of the parties chasing the other to make a confession of love before it's too late.

It's fair to argue that there are not many romantic comedies available featuring middle-aged characters. So why, when one is made, does it have the same rhythm as what we get with similar movies for twenty-somethings? Neither The Upside of Anger nor Something's Gotta Give was a perfect motion picture, but both took things in more interesting directions. Must Love Dogs' reluctance to put a chip in the mold becomes its undoing. Diane Lane and John Cusack are better actors than the material, but their presence will function as a chick flick magnet. Sadly, only those with minimal expectations will come away satisfied. There are things to like about Must Love Dogs, but not enough to earn it more than a half-hearted nod.

© 2005 James Berardinelli

Movie Review: 'Stealth'

'Stealth' creeps toward credibility in second half


Jamie Foxx and Jessica Biel
Columbia Pictures

'Stealth'

Director: Rob Cohen

Stars: Josh Lucas, Jessica Biel, Jamie Foxx

MPAA rating: PG-13 for intense action, some violence, brief strong language and innuendo

Two stars(2/5)

By Ed Blank
TRIBUNE-REVIEW FILM AND THEATER CRITIC
Friday, July 29, 2005

You have to figure Jamie Foxx didn't know when he signed for "Stealth" that he'd receive two Academy Award nominations early in 2005 -- one for his supporting performance in "Collateral" and one for his leading portrayal of Ray Charles in "Ray."

The latter paid off with an Oscar.

So what's he doing in the third role in what amounts to a brash, loud reimagining of TV's "The Mod Squad" -- white guy, white gal, black guy, showboating heroics?

Sure, good actors are always taking secondary parts in distinguished plays and movies. But "Stealth"? It's like "Pearl Harbor" dumbed down further.

It seems 400 of the Navy's finest applied to be the pioneer pilots of new fighter jets.

How lucky for the film that the three selected -- Josh Lucas (Lt. Ben Gannon), Kara Wade (Jessica Biel) and Henry Purcell (Foxx) -- just happen to look like the trio you'd want for a movie poster.

Capt. Dick Marshfield (Joe Morton) may have reservations about sending the mod squad on a mission before the planes are fully tested. Capt. George Cummings (Sam Shepard) respectfully tells Dick to put a lid on it. There's no time to tinker.

Besides, the insufferably egotistical poster kids will be guided by Eddie, a sphere-shaped computer with all of the aptitude and ambition of HAL, the resident Mind Of Its Own in "2001: A Space Odyssey."

The first hour of "Stealth" is so over-wound and empty it threatens to clear the house before the stronger, second half takes over.

"Stealth" is the kind of movie so fearful of its target audience's attention span that even while the kids are studying their manuals for what is to be a life-and-death mission, loud rock music blasts freely.

The kids go for sushi, make out early and often, and enjoy a sexual interlude in Thailand. Every woman who passes by is a babe.

W. D. Richter's screenplay, or what's left of it, isn't serious about these characters, their politics or anybody's loyalties.

As directed by Rob Cohen, "Stealth" is a sound blast set to a quickly cut action video, interrupted by the dialogue of people not worth listening to.

Even the moments of devastation are sliced up into such short pieces that the impact is depersonalized.

There's one genuinely tense scene that involves landing in North Korea, but it leads to a sequence so implausible that even the comparable "Behind Enemy Lines" winds up seeming more realistic in retrospect.

Give us a little credit, guys.

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Movie Review:War of The Worlds

"No one would have believed in the early years of the twenty-first century that our world was being watched by intelligences greater than ours"...
"We always thought they would come in peace...but we never know...

Rating:****/*****
"With this Steven Spielberg takes us to the adventurous journey of alien invasion.Back 1982 when Speilberg gave us all time classic blockbuster E.T.(Extra territorial).It seems only few days back it had released but it had been 23 years old still charming in our mind.

Comes 2005 and here again spielberg brings another alien movie.But...but this time the aliens are not for friendship,not for war but for total extermination of human beings.H.G.Wells 1898 novel had been turned into visual stunner by Steven Spielberg

Ray Ferrier (Tom Cruise) is an average
blue-collar worker living in a cluttered
him to barely meet his mortgage
payments. He rushes home from work one
morning to greet his kids - 10-year old
Rachel (Dakota Fanning)
and her 16-year old brother, Robbie
(Justin Chatwin) - who are being dropped
off by his ex-wife,Mary Ann (Miranda Otto)
, for a weekend visit.

Ray doesn't have the best relationship with his offspring,
and his deficiencies as a father are immediately apparent.
But this isn't a normal day. Before it has ended, bizarre
lightning storms have caused gigantic alien tripods to
explode from beneath the ground and entire towns are being leveled.Ray grabs his kids and takes them on a frantic roadtrip to find their mother. But, in a world where nothing can stop the mechanical monsters and humans are turning on humans for basic necessities, where can safety be found?

Tom Cruise yet again gives a knockout performance.Dakota Fanning is outstanding as Cruise's daughter.Tim Robbins is excellent in his small but significant role.

The only negative aspect of the movie is its ending.The ending is a total letdown especially if we consider its a 'spielberg' movie.However the movie takes you to the ride of breathtaking devastation and destruction by the aliens.

"Techno maestro" Speilberg proves that no one can beat him when it comes to special effects.Fabulous,shocking and stupendous words should be used for such type of special effects.For every destruction there is new technique,for every devastation there is new style.Best ever special effects for such kind of movie.

Cracking of buildings,shattering of earth and nervous gasps can make your blood chilling even in this summer.So get ready this summer for joycoaster ride and breathtaking adventure never seen before in an alien movie.H.G.Wells would be very pleased.his novel had been turned into visual stunner.One of the best alien invasion movie

We always thought they would come in peace...but we never know

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