This thriller displays a coherent storyline without leaving too many loose ends or becoming too serious. The role of an uncomplicated and somewhat bland hero is perfect for Chris Evans, Camilla Belle had an easy task in playing the sickly, boring heroine. Dakota Fanning and Djimon Hounsou are the real stars of the film, if any exist. Neil Jackson stands out as a government agent with paranormal abilities and Ming-Na performs well given her small role. Nonetheless the plot twists are sufficiently interesting to keep the audience's interest for the time necessary to enjoy the film.
Este thriller demuestra una trama coherente sin dejar muchos cabos sueltos y sin ponerse demasiado serio. Supongo que el rol de heroe sin muchas complicaciones ni personalidad le queda bien a Chris Evans y Camilla Belle tampoco tuvo que esforzarse mucho para hacer de la heroÃna enfermiza y aburrida. Dakota Fanning y Djimon Hounson son las verdaderas estrellas de la cinta si es que tiene alguna. Neil Jackson destaca como agente gubernamental con superpoderes y Ming-Na realiza un buen trabajo con el pequeno papel que tiene. Sin embargo los enredos son suficientes como para que la audiencia se interese el tiempo suficiente para disfrutar de la pelÃcula.
In a role that seems written specifically for her by her husband Fito Paez, Roth takes the viewer to a darkness as impressive as it is horrifying. Although a bit presumptuous, the surrealistic plot offers an unforgettable look at people who have been profoundly tortured to the point they can do nothing more than torture themselves.
Con un papel que parece escrita especialmente para ella por su marido Fito Paez, Roth lleva al espectador a una oscuridad tan impresionante como horrorosa. A pesar de presuntuosa, la trama surrealista ofrece una mirada inolvidable de seres que han sido profundamente torturados hasta no poder hacer mas que torturarse ellos mismos.
Moving seamlessly from the uninspired to the downright boring, this incarnation of the classic saga is worthy of watching ONLY to see Aaron Yoo's performance as the non-stereotypical Asian friend. Otherwise it comes across as an attempt to cash in on viewer nostalgia for the formulaic 80's slasher, complete with elaborate but unconvincing death scenes and characters painstakingly crafted to be as two-dimensional as possible. Put simply this film works too hard at being bad.
A tense farce that moves like a shot through the twisted storyline. Although the take on celebrity is virtually hammered down the viewer's throat, the script comes off more as the portrait of one clueless sociopath's downward spiral rather than a sweeping social commentary. Still, the dialogue is witty and the actors do a good job of being funny without descending into slapstick. Phoenix's performance as the pathetic stooge is almost gutwrenching to watch, and Kidman shows the same biting flare she displayed in her early career before a long line of plastic summer fare. The film manages to avoid extensive moral diatribes by focusing more on Kidman's insanity than the actual media frenzy she generates, ending up with a good balance at the end.
Although I hated the film at first glance b/c of its gratuitous violence and coarse feel, the juxtaposition of warmed over black stereotypes with traditional elements of the Dracula myth provide an interesting, if skewed, social commentary. The most interesting elements are the return of the darker, more sensual Murphy that appeared in Harlem Nights and Bassett's portrayal of a disturbed heroine. Although the campy backdrop made it hard for them to shine, the two come across as undeniably sexy, which makes the cliched and unimaginative climax all the more disappointing. This is more like the 90's version of Scream, Blacula, Scream than a serious attempt at comedy or drama. Nevertheless, Bassett's intensity and Murphy's ability to keep a straight face during the more ludicrous moments, which must have been difficult no matter how many takes it took, give this otherwise unimpressive movie a little something extra.
a bit slow in the beginning but the chaotic shifts add to the realism of the film. Moore shines yet again as an emotionally unbalanced woman, and Falco's performance is haunting. a draining film charged with unrest and regret, it tackles some pretty deep issues without coming across as preachy.
Essentially a porno in all but name, the production values are absolutely awful, and the artistic merit is nil. The fact that Milano's career was able to survive this festering, 93-minute sinkhole is a testament to her genuine skills as an actress. If you want to make any sort of erotic or daringly unique film, force yourself to sit through this travesty and do the exact opposite at every turn.
The same general fair as the first film, yet the female vampire and her entourage make the sequel more palatable than the first in my opinion. Regine's flunkies provide a little colour as the foil for Ragsdale and McDowell's heroic bungling, and Julie Carmen is surprisingly sexy, wasting one of the most seductive portrayals of a female vampire I have ever seen on a movie that was obviously intended just to rake in a few bucks based on the popularity of the original Fright Night.
One of those movies all fans of camp horror wind up watching eventually, this film has somehow managed to survive the test of time, although most of the homages to classic vampire films seem to be bungled by the hideously ill equipped cast. Even a good 'bad' movie takes a little genuine acting or some touch of originality, and this one simply doesn't provide either. Even the potentially hilarious inclusion of Amanda Bearse as the vampire's vaunted love interest just comes across as another pathetic twist in an already lackluster film.
On its own this movie would probably have earned three stars, but in comparison with the first two films and with the comics, this effort can only be described as 'non canon.' Sources tied to the film made a show of supposedly standing up to fans about the direction of the third instalment, but the heavy handed 'cure' premise is unsatisfying in light of the past films' more skilful handling of the mutants' status as a minority. Also, the Phoenix subplot which was considered epic in the comics turned into Carrie at the prom by the end of the flick. As I've said before, these movies have a higher burden of proof to meet, unless they want to descend into camp and high fantasy, but X3 represents an intent to avoid that which leads to a n althogether different trainwreck, namely that of alienating your core audience just to make a buck. To reiterate, a thoroughly disappointing copout that can only be described as cinematic garbage.
Follows the pace of the first film very well. The plot is free to develop on its own now that the backstory is out of the way. Faithful to the themes of the first movie and the comics, the sequel also graces the viewers with more interesting tidbits about Logan's past. The handling of the 'Phoenix Saga' which provides such a core part of the X-Men mythos among fans was done very well and was able to fit into the film's greater plot, a tall order for those who have read the comics. As with the first instalment, this was an incredibly difficult undertaking to pull off well, and once again Singer delivers.
A good opener for the series. Nothing amazing in and of itself, but a sufficiently entertaining film on its own merit. Paquin and Jackman provide the central focus, but the rest of the cast manages to hold its own without making the plot seem corny, an amazing effort for a superhero film.
A surreal, over the top production with little bearing on the actual case of the Dahlia. Josh Hartnett shows off his pretty body, and the deadpan nature of his character didn't strain his questionable acting skills. Johansson and Swank did a good job representing their hideously exaggerated dialogue, although the director should have toned down their phony accents. It gets high marks for the overall style, but the script has problems. This films turns the dream of Hollywood into a nightmare, and the viewer is all too happy to wake up at the end.
Although a few things were left unexplained and a little mythology was added, all and all this film is a very good homage to the darker side of mermaids, which has been present since the beginning of the legend. I'm not a fan of the titty shots, even if clothing is hard to find under the sea, but all in all this is a visually attractive, sexy and intriguing work.
Thought this was the inspiration for a later flick with an almost identical title. Unfortunately it's a mishmash of bad metaphysics and cheesy special effects. It's barely good enough to watch at 3 am when you can't sleep, which is exactly what I did.
Although the garish mix of European and Mexican Spanish accents spoken by the actors gives the film an almost ludicrous sound at times, the translation itself is quite good. A true classic of early horror.
A horrifying film of a life gone wrong despite the protagonist's misguided attempts to fix it. This film rips away false sentiment and still manages to engender some genuine sympathy for Theron's character. A masterful depiction of a thoroughly disturbed individual's downward spiral
A pile of cliches that falls short of scary and comes across as profoundly awkward. Whatever the ghosts could do to the characters in this movie is probably less painful than having to act in it, or watch it for that matter.