Average User Score: 5.1Sep 26, 2010"Is it better than New Moon?" After viewing The Twilight Saga: Eclipse, this was the first question asked by most people, and the answer is"Is it better than New Moon?" After viewing The Twilight Saga: Eclipse, this was the first question asked by most people, and the answer is "Yes.", but that doesn't mean that Eclipse is good.
The third outing into Forks, Washington retreads much of the same ground as the first two films, Edward (Robert Pattinson) and Jacob (Taylor Lautner) are both still fighting for Bella's (Kristen Stewart) love, which leads to discussions like, "I want to be a vampire. But you shouldn't become a vampire. I want to have sex. We shouldn't have sex until we're married. I like the cold vampire and the warm wolf, why can't they just get along?" Of course we know there's also going to be a battle, either between vampires and wolves, vampires and vampires, or a mix of vampires, wolves, and more vampires. There's more shirtless abs too, Edward even asks Bella at one point, "Doesn't he own a shirt?"
If you can sit through all this, there is about 45 minutes of worthwhile footage, mostly consisting of Jasper Hale (Jackson Rathbone) or Charlie Swan (Billy Burke). Bella's loving father, Charlie, is his usual comic-relief self, and he maintains and like-able presence while remaining concerned for Bella's well-being. Every scene with Charlie is enjoyable. Jasper is a different animal altogether, as the most mysterious, and unpredictable, of the Cullen coven, Jasper finally comes out of his shell to show that, (surprise, surprise) Jackson Rathbone can act. Rathbone never comes across cheesy or lame, and he delivers his sub-par lines in such a way that we focus not on what he's saying, but how he says it.
Another bonus in this installment of The Twilight Saga, are the featured back-stories of select members of the Cullen coven. Up til now, Edward's the only one graced with a "How I became a teenage vampire" story, and it's not just the low temperature bloodsuckers who have a history lesson to share, we also learn a little history of the Quil wolf tribe.
The actors are slightly better this time around and deliver less cringe-worthy moments. The dialogue is still uninspired, but I can't blame the director, David Slade (check out his film Hard Candy (2005), to see what he's capable of when he has a good script and actors). In Eclipse, Dakota Fanning is still shaping up to become the next Meryl Streep, I hope to see more than a few stares and harsh words from her in the next two films. Ashley Greene, my other favorite actress in the film, who plays the future seeing vampire, Alice, isn't in many scenes, but she's great, as always, in her few moments on-screen. Although I wasn't thrilled with Rachelle Lefevre in the first two films as Victoria, the red-head vamp who's set on ridding the Earth of Bella, she was a better fit than Bryce Dallas Howard, who, although a good actress, doesn't have the qualities needed to pull off the heartless soulless creature bent on destruction and revenge.
David Slade uses more static and wide shots, giving the viewer more to chew on and allowing them to take in the scene as well as the moment. On the down side several hand-held scenes were too shaky, not The Blair Witch Project (1999) or Cloverfield (2008) shaky, but it gets annoying. The CGI wolves had been vastly improved, yet still possessed an air of cartoonish quality, making them less believable in some scene.
There will never be a better score for any Twilight film than that of Carter Burwell, the masterful composer behind the score of the first film (you may recognize his talent from the Coen Brothers films, Fargo (1996), No Country For Old Men (2007), and Burn After Reading (2008)). Despite this, Howard Shore brings the score back from the depths it sank to in New Moon to a more acceptable level in Eclipse. Even the songs this time around work better in their scenes.
Eclipse isn't the Twilight film I'd hoped for, but the moments that weren't filled with Bella, Edward, and Jacob drama were decent. Plus, I now have a new actor to keep an eye on.… Expand
Average User Score: 6.4Sep 26, 2010"These are the best days of our lives." -The Count
Pirate Radio (Richard Curtis's second time in the director's chair) comes six years after"These are the best days of our lives." -The Count
Pirate Radio (Richard Curtis's second time in the director's chair) comes six years after his impressive directorial dÃ©but, Love Actually (2003). This time Curtis returns with the theme of love intact, but his lack of a big enough story to fill the near two-hour runtime, threatens to capsize Curtis's rock 'n' roll love boat as waves of unnecessary drama, toss the story about on the rock 'n' roll sea.
We jump into the Pirate Radio sea in 1966, things are going good for rock n' roll, offshore pirate radio, and the ship, Radio Rock. Which is getting a new crew member, 'Young' Carl (Tom Sturridge), whose mysterious mum (Emma Thompson) feels it's necessary for Carl to spend some time on Radio Rock with his godfather, Quentin (Bill Nighy), who is the captain/manager of Radio Rock, filled with sex, drugs, alcohol, and did I mention, great rock music. Meanwhile, the British government is working to find a loophole to legally cut off Radio Rock's signal. The problem for the government was that the pirate radio stations were doing nothing illegal, so, as one government official points out, if the government doesn't like something, they pass a law to make it illegal. Pirate Radio has a good story to tell, and it needs telling, especially to the younger generation who knows nothing of this kind of censorship, nor the determination and love put forth by the people who risked their livelihood, and even lives, to bring great rock music to millions across the airwaves.
Many early shots in the film are handheld with fast edits and frantic pacing. As the story evolves and the audience feels at home with the crew of Radio Rock, there are more static shots and less frantic editing. The technique works well here, as the handheld scenes showthe rocking of the boat on the sea, as well as the uncertainty of Radio Rock's future. The heaping helping of rock songs played throughout the film provides most of the soundtrack, and only a few moments have need of a score.
There's a great cast of known and not-so-well-known actors aboard this ship of rock. Bill Nighy, who leads the expedition, is in top form, as always, delivering his lines in the best of deadpan seriousness (his good news/bad news speech is one of his finest moments). Philip Seymour Hoffman keeps the energy alive as The Count, an American DJ whose love of rock has brought him out to the North Sea. Nick Frost is even on board, with a performance that's not on par with his work in Shaun of the Dead (2004) or Hot Fuzz (2007), but still provides plenty of laughs. The remaining cast members are also good in their roles, and you may find a couple to look out for. I especially enjoyed Thick Kevin (Tom Brooke), whose only revelation comes after a night of drinking, Midnight Mark (Tom Wisdom), who says very little, even when on the radio, and Bob Silver (Ralph Brown), the deadhead who'll do anything to save his records.
The main flaw of Pirate Radio is too much padded drama with the DJs, most of which takes place over sexual escapades with women, who are only allowed on the boat every other Saturday. It would have been great to see more time spent on real events, instead of fictional spats between characters.
If you're looking for a (mostly) lighthearted adventure at sea, filled with great rock, and interesting characters, or an excuse to educate the younger generation about the long hard road of 1960s rock 'n' roll, Pirate Radio will keep its mast held high and bring you safely into port.… Expand
Average User Score: 6.6Sep 26, 2010Occasionally a comedy comes along that's so great, it's guaranteed to be enjoyed for generations to come. Hot Tub Time Machine is one suchOccasionally a comedy comes along that's so great, it's guaranteed to be enjoyed for generations to come. Hot Tub Time Machine is one such comedy, and it's earned its place among great comedies, as everyone in Hot Tub Time Machine is in top form, and it shows as the laughs keep coming in this time-traveling bromance.
The plot is simple, Adam (John Cusack), Nick (Craig Robinson), and Lou (Rob Corddry) are best friends who have grown apart as adults, but after an alleged suicide attempt by Lou, their **** friend" (as Adam points out, every group has one), Adam and Nick (with Adam's nephew, Jacob (Clark Duke), in tow) decide it's time to revisit Kodiak Valley where they attended Winterfest in 1986. Their return visit initially produces a rundown town littered with closed businesses and an empty hot tub in their cabin. Once the hot tub is mysteriously fixed, filled, and operating, the guys hop in only to be taken back to the very night they hoped to relive, but there's a catch, the mysterious hot tub repair man (whom you'll recognize immediately) tells them they have to relive the night exactly as they did in 1986. This may sound as lame as the title, but the director, cast, and writers know what their doing and provide one of the most enjoyable comedies I've seen in a while.
The unrated version has enough boobs, barfing and bad behavior to go around, as Craig Robinson delivers a performance every bit as good as his roles in Pineapple Express (2008) and Zack and Miri Make a Porno (2008). Robinson has great comedic timing and always brightens up a scene. John Cusack has been hit and miss with me for years, but he shines here as Adam, whose recently single and lives with his nephew, Jacob, who never leaves the basement or the internet, at least until they go to Kodiak Valley. Speaking of Jacob, the young Clark Duke proves himself a force to be reckoned with, I expected him to be the weakest link, but in Hot Tub Time Machine, there is no weakest link and Duke holds his own among the more experienced actors. Rob Corddry has been showing up in various roles since gaining popularity on The Daily Show (1996), however, he's never been used to his full potential until now. Lou is the perfect fit for Corddry as he's able to cut loose with nothing to hold him back except himself. Lou's the **** friend to a tee, but we like him enough to want him to succeed.
It's no secret that I'm a huge fan of Crispin Glover, it's also no secret that Glover can deliver a performance like no other. His unmistakable appearance and willingness to go in any direction for a role, make him a constant joy while on screen. I won't give away the details of his character, except to say you won't be forgetting Phil anytime soon.
Hot Tub Time Machine is bromance comedy through and through, and beneath all the "dick and fart" jokes, there's a solid message about lifelong friendships and how important it is to maintain them in your adult life, even if one of those friends can be difficult at times. Now, if you'll excuse me, I have an old **** friend" to call.… Expand
Average User Score: 8.8Sep 26, 2010Tarsem Singh's directorial debut, The Cell, contains more style than substance, and is weighed down with it's special effects and a side-storyTarsem Singh's directorial debut, The Cell, contains more style than substance, and is weighed down with it's special effects and a side-story that should have been left on the cutting room floor. At the same time, elaborate costuming and great shots that turn the most desolate sand dunes into beautiful landscapes, present a great director in the making and enough story to keep the audience along for the ride.
Catherine Deane (Jennifer Lopez) is a psychotherapist who has been working with a comatose child by getting inside his mind via a virtual reality styled setup that includes a breast accentuating suit, suspension from wires, and a face covering towel that looks like a computer circuit-board. Meanwhile, there's a killer on the loose and the FBI hopes that Catherine can get inside the killer's mind to find his latest victim before it's too late.
It's difficult to discuss The Cell, without mentioning Tarsem's 2006 film The Fall. Because everything Tarsem did wrong in The Cell he did right in The Fall. The Cell was a learning experience for Tarsem, and he learned his lessons well. The Cell is set up like a coin, there are two sides that come together to make one movie, unfortunately one side of the coin is more polished than the other. In this case the polished side is Tarsem's non-CGI visuals, many of which are influenced by great paintings, but the CGI effects are in overload throughout many parts of the film and it's distracting. There are several moments within The Cell that hearken to David Lynch's Twin Peaks (1990-1991), which stands to reason as both, Tarsem and Lynch, are visual directors.
Catherine's story line with the killer, Carl Stargher (Vincent D'Onofrio), is interesting and provides many great visuals. The parallel crime drama storyline, however, is lame, even by C.S.I. standards. Vince Vaughn is passable as Peter Novak, the FBI agent who has a past of his own to overcome, but the character is uninspired. Any actor could have played Peter Novak and it wouldn't have made a difference.
Jennifer Lopez's performance improves with the increasing bizarreness of her costumes, which both come to a peak in the third act. Vincent D'Onofrio is good as the killer, whose fetishes would give Jeffrey Dahmer a run for his money. Although D'Onofrio executed the part well, I can't help but wonder what Philip Seymour Hoffman would have done with the role.
Despite it's flaws, The Cell doesn't leave you empty handed, and it shows a first time director learning his strengths and weaknesses, which payed off six years later when he directed The Fall.… Expand
Average User Score: 8.6Sep 26, 2010The best piece of advice I can give you is to stop reading this review and go see Inception immediately, because the less you know going intoThe best piece of advice I can give you is to stop reading this review and go see Inception immediately, because the less you know going into it, the more rewarding your movie going experience will be, however, if blind faith is not your cup of tea (and since you're reading this, it probably isn't), read on, as I share a few words about one of the greatest summer blockbusters in recent years.
The easiest way to describe Inception is to say that it deals with dreams, and people who enter other's dreams to find, or implant, information. As we soon learn, gaining information from dreams is difficult enough, but to implant information (a process called, you guessed it, inception), is a different story entirely. If you must know the plot, Cobb (Leonardo DiCaprio) and Arthur (Joseph Gordon-Levitt) are hired by Saito (Ken Watanabe) to perform inception on Robert Fischer, Jr. (Cillian Murphy) in an effort to convince him to divide his father's (Maurice Fischer [Pete Postlethwaite]) company (this, as Alfred **** would say, is the MacGuffin). After consulting his old teacher, Miles (Michael Caine), Cobb picks up Ariadne (Ellen Page), Eames (Tom Hardy), and Yusuf (Dileep Rao), to assist him and Arthur on their mission of inception. There is also a side story involving Cobb's wife, Mal (Marion Cotillard), and their two children. My plot synopsis ends here, as saying more would detract from the amazing moments you'll witness on-screen.
Those who have seen director Christopher Nolan's 2000 effort, Memento, will not be surprised by Inception's requirement of the viewer to take each scene as it comes. Viewers and critics have called the film confusing. It's not confusing, it's complex. The film itself is explained in detail, and without the usual boring dialog that screams "Did everybody get that?". There's even well-timed comedic moments that serve to break the tension. The difficult complexities of the film come from what is not seen, the bigger picture, happening outside the parameters of the movie. This is why Inception has been the subject of debate on forums, blogs, and even around dinner tables. It's as though Nolan puts the viewer in the middle of his maze, gives them the map, then turns them loose; but, there's a catch, the edges of the map are burned and faded.
The technical side of the film is near perfect. I can't recall another film where the special effects and cinematography were better matched to create a visual buffet that simultaneously feeds our hungry eyes and mind. Nolan's long-time cinematographer, Wally Pfister, has done a great work here that tells the story as well as the actors and their dialog. All the while, Hans Zimmer's score flows throughout the film, taking us where we need to go. While Nolan and his crew juggle the technical side of the film, Leonardo DiCaprio, and his cohorts, are in full-form as we journey alongside them through dreams inside of dreams.
Inception is that rare treat that comes down the line when a studio (in this case Warner Bros.) is smart, and brave, enough, to take a chance on something great and original. If you see one film in the theater this summer, make it Inception.… Expand
Average User Score: 5.8Sep 26, 2010Like many comedies before it, Dinner for Schmucks relies heavily on misunderstandings to fuel it's humor, which works here more often thanLike many comedies before it, Dinner for Schmucks relies heavily on misunderstandings to fuel it's humor, which works here more often than not, but takes its sweet time getting there.
Following the basic premise of the French film, The Dinner Game (1998), the American version features Paul Rudd as Tim, a guy hoping to simultaneously impress his girlfriend, Julie (Stephanie Szostak), while attempting to climb the corporate ladder from the sixth floor to the coveted seventh. His proposal impresses the boss (Bruce Greenwood), which gets him an invite to a monthly dinner where each guest brings the biggest idiot they can find to make fun of. This may seem cruel, and it is, but the film attempts to use care in dealing with it (at least as much care as any film directed by Jay Roach ever will). After Julie convinces Tim to turn down the invite, and hence the promotion, Tim runs into Barry (Steve Carell) who surpasses his wildest dreams of the ultimate schmuck with his taxidermy mouseterpieces and misunderstanding of everything from insurance to John Lennon lyrics. Due to confusion about when the dinner is to take place, Barry becomes Tim's odd couple roommate the day before, which allows for a number of comedic situations to take place (some more predictable than others).
Although Rudd and Carell are a good comedy team, early on the film feels like its reaching for jokes and only grabbing hold on occasion. That is until we get the supporting cast. Nearly every scene with the supporting cast generates enough laughs to make up for the few lesser scenes with the stars. That's not to say Rudd and Carell never make good on their odd couple standing, Once momentum picks up, our fumbling duo work their way into a sea of awkward situations that bring the laugh meter up to the appropriate level.
Along the way there are many recognizable cast members in small roles, such as Kristen Schaal, who shows up as Tim's secretary, Susana, and changed the way I think about coleslaw, and Lucy Punch as Darla, the obsessive blond who strives to throw a wrench in Tim's plans. Most notable however is Zach Galifianakis (who play Tim's mind controlling boss, Therman) and Jemaine Clement (as the artist, Kieran, who defies description, logic, and reason). Both Zach and Jemaine are in top form and deliver the most memorable performances in the film. With the exception of Ron Livingston (who is sadly misused here), the supporting cast helps the film along, keeping it from getting bogged down in a mire of mediocre comedy. The film has its ups and downs throughout, but it's all ups once the dinner party begins. If the entire film were as funny as the dinner scene, Dinner for Schmucks would be in the running for comedy classic status.
With a few ins, a few outs, and a few what-have-yous, Dinner for Schmucks is good for a laugh, but a laugh that can wait until it's on video.… Expand
Average User Score: 8.2Sep 26, 2010Director Edgar Wright's first feature film without his cohorts Simon Pegg and Nick Frost, proves that not only is Wright a master of hisDirector Edgar Wright's first feature film without his cohorts Simon Pegg and Nick Frost, proves that not only is Wright a master of his craft, but he can also make a great film with a fresh cast.
The 22-year-old Scott Pilgrim (Michael Cera) is average enough at first glance. He's in a band, dating a 17-year-old Asian high school girl (complete with school girl uniform), and has a gay roommate. Well, maybe he's not exactly average, but things take a 180Â° turn from average when Scott sees Ramona Flowers (Mary Elizabeth Winstead) at a party, a girl he had seen in a dream. Turns out that while Ramona is closer to Scott's age, she comes with baggage, seven evil exes worth of baggage that is, all of which intend to kick Scott's ass. At this point we suspend disbelief and simply enjoy the fact that everything we see on screen is a Generation Xer's wet dream, where characters are flung through brick walls, with little more than a scratch to show for it, and defeating opponents is rewarded with points and coins.
Those who spent a majority of their free time in the 1980s playing Nintendo, Sega, or even Atari, will have an appreciation of the style and concepts presented in Scott Pilgrim vs. the World. From the 8-bit reproduction of the Universal logo, to the animated character after the closing credit roll, Wright proves understands the material and how to present it to an audience.
After the brilliant collaborations of Edgar Wright, Simon Pegg, and Nick Frost in Shaun of the Dead (2004), Hot Fuzz (2007), and the lesser known TV series, Spaced (1999-2001), the absence of Pegg and Frost is a legitimate concern going into Pilgrim, but Wright and crew hold their own and show that they can branch out from the successful formula and still succeed. Although, as an avid fan of the trio, I hope to see these three amigos working together again soon.
There are only a handful of directors who excite me as much (if not more so) with their filming style as with the story, characters, and actors. With Spaced, Shaun, and Fuzz leading the way, after watching Pilgrim, Wright has become the first director on my list to achieve this level of style while working mainly in the realm of comedy.
On the heels of films such as Avatar (2009) and Inception (2010), Wright delivers a unique vision (although on a smaller scale) incorporating many seemingly random ideals which blend together perfectly in the finished product. Everything from the Pee Meter to the Vegan Police (yes, there is Vegan Police) is a welcome addition to Scott Pilgrim's universe.
If there is something more to be said of Edgar Wright as a director, it's that he understands music, and its role in film. His use and placement of music in his films is always spot on. I've been a fan of the unsung bass guitar for many years, but watching Pilgrim makes me want to actually play it. Anyone up for a bass battle?
Now that I've gushed quite enough about Edgar Wright, I should mention the actors. Apart from Superbad (2007), there has never been a better use of Michael Cera's acting strengths. (here I go, back to Wright again) Wright pulls out the best aspects of Cera's abilities, then stretches them a little farther to bring Cera to top performance. And although the rest of the cast are all great in their roles (I could write a 1,000 word essay on the actors alone), I was most impressed with relative newcomer Ellen Wong, who, in her feature film debut, provides a great performance as Pilgrim's insanely jealous, but loyal, high school girlfriend, Knives Chau. Look for her to go on to great things. Although there have been complaints about Mary Elizabeth Winstead's seemingly drab performance as Ramona, it should be noted that her character is the centerpiece to what is happening around her. Much like Zooey Deschenal and Lizzy Caplan, Winstead's subdued style has been misinterpreted as bland and unmotivated. The list of great characters and actors goes on, but I'll let you enjoy them as they show up on screen, just know that you'll be saying to yourself "It's that guy (or girl)!" several times during the film.
With a strong cast, a fun story, and a great visual director who truly understands the medium, Scott Pilgrim vs. the World stands as the overachieving underdog that will find an audience with Generation Xers, who will keep it alive for many years to come.… Expand
Average User Score: 9.0Sep 26, 2010While Chaplin is known for his physical comedy, Modern Times moves the Tramp into a new direction, making a hard hitting statement about theWhile Chaplin is known for his physical comedy, Modern Times moves the Tramp into a new direction, making a hard hitting statement about the depression era and man coexisting with machine.
Chaplin's lovable Tramp character is seen here as a factory worker, on the verge of a breakdown as he's unable to keep up with the frantic pace mandated by the conveyor belt before him. After being subjected to a crack pot inventor's machine, intended to feed employees while they work, the Tramp suffers a breakdown, which causes havoc for man and machine alike. After being mistaken for a communist supporter leading a parade down a street, the Tramp is put in jail, where, after a heroic act, is set free to pursue a life of unemployment. Seeing jail as a better alternative to starvation, the Tramp attempts to return to jail. Meanwhile he meets a Gamin (Paulette Goddard) and they set out to start a new life together.
Modern Times is a significant film for several reasons. It was originally going to be Chaplin's first talkie as the Tramp, it acted as Chaplin's social comment on the depression era, and it is considered the last silent film from that era. In the end, Modern Times became a mix of silent film and talkie, but in keeping with Chaplin's cleverness, all dialog (except for one scene) is spoken through machines. The factory president barks orders at his workers from big screens throughout the factory (a predecessor of the all-seeing "big brother"), a salesman presents a recording of his sales pitch, and voices are heard over a radio. There are also several sounds presented in the film, such as whistles, dogs, and gunshots. This is also the only time the Tramp speaks, but as expected from Chaplin, the Tramp's only audible dialog is a song of gibberish (which Chaplin chose to make sure the dialog could be understood (or not understood) by all people).
With Chaplin's Tramp character, he shows how much control his has over his body and why he's one of the greats of physical comedy. Many of the jokes seem overdone, since they've been mimiced endlessly in Hollywood through the years, but it's still easy to appreciate the level of physical control and demand Chaplin commands in his performance. Chaplin's female co-star, Paulette Goddard is no slouch either as she's right along with him in many scenes and proves a worthy companion. There's one particular scene in the factory when the Tramp gets caught in the gears of a large machine, it's like a choreographed dance with the inner-workings of a great machine.
If you're new to Chaplin or have been a fan for years, Modern Times is an insightful and entertaining romp through an era of beginnings and endings, and what better tour guide than the lovable Tramp.
Apart from a great transfer of this classic film, the DVD/Blu-ray release boasts a handful of extras, including an intro by David Robinson, the insightful 26 minute documentary with Jean-Pierre Dardenne and Luc Dardenne titled Chaplin Today: Modern Times, deleted scenes, Modern Times karaoke, photo gallery, and trailer reel.… Expand
Average User Score: 5.7Sep 26, 2010Do you like gore? Do you breasts? Do you like fish? Well, then step right up for Piranha 3D, one of the best horror B-movies this side of theDo you like gore? Do you breasts? Do you like fish? Well, then step right up for Piranha 3D, one of the best horror B-movies this side of the silver screen.
It's spring break at Lake Victoria, where alcohol, women in bikinis, and electro/house music can be seen and heard all around. Meanwhile, an earthquake beneath the lake releases prehistoric flesh eating piranha into the spring break action where Jake (Steven R. McQueen) has a crush on Kelly (Jessica Szohr), but Jake's mom, Julie (Elisabeth Shue), who happens to be the local sheriff, leaves Jake in charge of babysitting his younger brother and sister while she takes care of business down at the lake, however, thanks to a chance encounter with Derrick Jones (Jerry O'Connell), the brains behind (are you ready for this?) Wild Wild Girls, Jake leaves his siblings at home while he acts as location scout for Derrick and his crew, which consists of cameraman, Andrew (Paul Scheer), and Wild Wild Girls, Danni (Kelly Brook) and Crystal (Riley Steele). As you might have guessed, Kelly drops by just in time to join the fun.
Piranha 3D delivers as much gore and female nudity as you can possibly fit into an R-rated film, and then some. Between the onslaught of gore and breasts there are a few entertaining cameos, including Richard Dreyfuss as Matt Hooper, the drunken fisherman who definitely needs a bigger boat, Christopher Lloyd as Mr. Goodman, the scientist who makes a disturbing discovery about the piranha, and my personal favorite, Eli Roth, in a great scene as Wet T-Shirt Host (that's the actual credit), I think the name says it all. Also, Ving Rhames, who always delivers a memorable performance, appears as an officer alongside Elisabeth Shue, and Adam Scott brings great energy to his character as the leader of an underwater research team.
Although I enjoy breasts and gore in 3D as much as the next guy (or girl, lets not be sexist here), the use of post conversion 3D (instead of filming in 3D) detracts from its effectiveness in some scenes. Other scenes, however, still looked good, despite the post conversion.
Although there are several seasoned actors in the cast, the best performance is delivered by Jerry O' Connell, who was born to play the role of the sleazy fast-talking Derrick Jones, who can, as Andrew mentions, talk the pants right off of any girl. The high energy, and cocaine fulled, excitement which motivates Connell's character, is every bit as hilarious as it is well acted.
Speaking of Wild Wild Girls, due to the number of topless (and sometimes bottomless) actresses in Piranha 3D, Mr. Skin's Skincyclopedia is going to need to an entire chapter dedicated to this film. Kelly Brook and Riley Steele's nude aquatic ballet (they're not completely nude, they're wearing fins, but I doubt you'll notice) is one of the most memorable, and enjoyable, scenes.
Although the gore is intense, and there is a lot of it, the filmmakers know how to keep you laughing while the waters run red with blood. Piranha 3D is a fun movie that will keep you entertained with its characters, keep you covering your eyes with its gore, and keep you glued to the screen with its beautiful women.… Expand
Average User Score: 6.1Sep 26, 2010The Last Exorcism starts out with an interesting premise, but falls apart as yet another poorly rehashed mash up of The Exorcist (1973) andThe Last Exorcism starts out with an interesting premise, but falls apart as yet another poorly rehashed mash up of The Exorcist (1973) and Rosemary's Baby (1968).
Cotton Marcus (Patrick Fabian) is an evangelist and an exorcist, or at least he used to be. Cotton has grown tired of the hub-bub, and after the accidental death of a child at the hands of another exorcist, Cotton questions his faith and calls it quits with the exorcism game. But not before hiring a camera crew to follow him to his last exorcism, where he intends to show how it's not demons, but smoke and mirrors trickery that works on the mind of the "possessed". Responding to a plea from the reclusive and ultra-religious Sweetzer family, Cotton finds Nell (Ashley Bell), a shy and soft spoken 16-year-old girl who is supposedly possessed, her brother, Caleb (Caleb Landry Jones), who is initially less than accepting of Cotton and his crew, and their father, Louis (Louis Herthum), a widower who keeps his kids on a short leash in an effort to protect them from the evils of the outside world.
If you can get past the shaky/often out of focus cam (with camera techniques like that, I'd never hire these people to shoot a documentary), the movie has potential. Cotton's "banana bread" sermon is something to behold, as he proves just how psychological and in-the-moment his sermons really are. Once at the Sweetzer's farm all this changes, the film follows a few patterns we're familiar with, however, approaching it from the point of a faux-documentary presents new challenges and opportunities, the greatest of which is overcome when the possessed Nell gets the camera while Cotton and his crew sleeps. It's easily the best scene in the film.
Ashley Bell's ability to contort herself and flash a genuinely creepy grin, add to the natural no-special-effects-needed creepiness of the film. While Patrick Fabian is fun to ride along with as Cotton Marcus since he's simultaneously working to help Nell and expose exorcism for what he claims it really is, a hoax.
Nearly every reviewer has commented on the poor ending, and I have to agree that while the film is okay throughout, it suffers from "second ending syndrome" where the filmmakers couldn't leave well enough alone and had to add one final plot twist. This happens in far too many films and borderlines on deus ex machina (which perhaps only screenwriter Charlie Kaufman can pull off). A similar fate befell The House of the Devil (2009), which suffered from its pacing and lack of content, but had a great ending, that is, before "second ending syndrome" got the best of the filmmakers, and completely destroyed it.
Replacing the overly shaky/out of focus camera style, cutting, and promptly burning, the ending, and punching up the script, could make The Last Exorcism worth viewing. But as it stands now, instead of wasting time and money on these mashed up rehashes of classic works of cinema, go directly to the source, and seek out the classics upon which they are birthed.… Expand