In delivering non-18-rated excitement, Alien vs. Predator is an acceptably average science-fiction action thriller with some noteworthy highlights, even if it squanders its opportunity to intelligently combine two popular franchises. Rabid fans can justifiably ask "Is that all there is?" after a decade of development hell and eager anticipation, but we're compensated by reasonably logical connections to the Alien legacy and the still-kicking Predator franchise (which hinted at AVP rivalry at the end of Predator 2); some cleverly claustrophobic sets, tense atmosphere and impressive digital effects; and a climactic AVP smackdown that's not half bad. This disposable junk should've been better, but nobody who's seen Mortal Kombat or Resident Evil should be surprised by writer-director Paul W.S. Anderson's lack of imagination. As a brisk, 90-minute exercise in generic thrills, however, Anderson's work is occasionally impressive... right up to his shameless opening for yet another sequel. --Jeff Shannon
In delivering non-18-rated excitement, Alien vs. Predator is an acceptably average science-fiction action thriller with some noteworthy highlights, even if it squanders its opportunity to intelligently combine two popular franchises. Rabid fans can justifiably ask "Is that all there is?" after a decade of development hell and eager anticipation, but we're compensated by reasonably logical connections to the Alien legacy and the still-kicking Predator franchise (which hinted at AVP rivalry at the end of Predator 2); some cleverly claustrophobic sets, tense atmosphere and impressive digital effects; and a climactic AVP smackdown that's not half bad. This disposable junk should've been better, but nobody who's seen Mortal Kombat or Resident Evil should be surprised by writer-director Paul W.S. Anderson's lack of imagination. As a brisk, 90-minute exercise in generic thrills, however, Anderson's work is occasionally impressive... right up to his shameless opening for yet another sequel. --Jeff Shannon
From acclaimed director Abbis Kiarostami (Taste of Cherry The Wind Will Carry Us) comes the story of a couple's apparent chance meeting in beautiful Tusccany. He (William Shimell) is a British author in town to talk about his new book. She (Juliette Binoche) is a French gallery owner in search of originality. Together they tour the local galleries cafes and museums and discover that nothing is quite what it seems and truth like art is always open to interpretation. A captivating film Certified Copy marries post-modern reality games with mature romantic comedy in a single playful and provocative package.
A bizarre Indonesian horror movie concerning the dangerous research an Australian woman undertakes when looking into black magic practices in the Caribbean...
Sergei Eisenstein's revolutionary sophomore feature has so long stood as a textbook example of montage editing that many have forgotten what an invigoratingly cinematic experience he created. A 20th-anniversary tribute to the 1905 revolution, Eisenstein portrays the revolt in microcosm with a dramatisation of the real-life mutiny aboard the battleship Potemkin. The story tells a familiar party-line message of the oppressed working class (in this case the enlisted sailors) banding together to overthrow their oppressors (the ship's officers), led by proto-revolutionary Vakulinchuk. When he dies in the shipboard struggle the crew lays his body to rest on the pier, a moody, moving scene where the citizens of Odessa slowly emerge from the fog to pay their respects. As the crowd grows Eisenstein turns the tenor from mourning a fallen comrade to celebrating the collective achievement. The government responds by sending soldiers and ships to deal with the mutinous crew and the supportive townspeople, which climaxes in the justly famous (and often imitated and parodied) Odessa Steps massacre. Eisenstein edits carefully orchestrated motions within the frame to create broad swaths of movement, shots of varying length to build the rhythm, close-ups for perspective and shock effect, and symbolic imagery for commentary, all to create one of the most cinematically exciting sequences in film history. Eisenstein's film is Marxist propaganda to be sure but the power of this masterpiece lies not in its preaching but its poetry. --Sean Axmaker
Laura is still waiting for Prince Charming at the age of 24. So when Sandro appears at a party exactly like her Prince would in her dreams she thinks she's finally found her knight in shining armour. But then when she meets Maxime the following night Laura starts to wonder if some Princes could be more charming than others. Will everything end happily ever after for Laura? Or will the prince turn out to be the frog? A sharp snappy and wonderfully droll comedy of manners and errors this charming French romantic drama has won over legions of admirers across the channel and is now poised to set hearts aflutter in Britain too.
Set in Paris and starring two of France's most exciting new actresses The Girl is a gorgeously realised modern film noir. The story follows the spiralling affair between the film's narrator - a beautiful painter (Agathe de la Boulaye) - and a nightclub singer who she calls The Girl (Claire Keim). While their passion for each other is consuming a relationship from the past threatens to tear them apart.
Marie, a professor of English literature in a Paris university, has been happily married to Jean for 25 years. During their summer holiday he vanishes. Has he left her? commited suicide? drowned? With no clue she acts as if he is still alive.
In the mid-1990s, a rural family of four enthusiastic country and western fans falls apart when their daughter Kelly disappears one night at the local ball. The father, Alain, embarks on a relentless search for his daughter, even though it costs him everything and takes him to some dark and far-off places, where his sole support is his young son Kid, who sacrifices his youth to accompany his father on this seemingly endless quest. From the writer of A Prophet and Rust and Bone, starring Francois Damiens (Heartbreaker) and John C. Reilly (The Lobster), Les Cowboys is a gripping and powerful piece, superbly filmed and acted.
In delivering non-18-rated excitement, Alien vs. Predator is an acceptably average science-fiction action thriller with some noteworthy highlights, even if it squanders its opportunity to intelligently combine two popular franchises. Rabid fans can justifiably ask: "Is that all there is?" after a decade of development hell and eager anticipation, but we're compensated by reasonably logical connections to the Alien legacy and the still-kicking Predator franchise (which hinted at AVP rivalry at the end of Predator 2); some cleverly claustrophobic sets, tense atmosphere and impressive digital effects; and a climactic AVP smackdown that's not half bad. This disposable junk should've been better, but nobody who's seen Mortal Kombat or Resident Evil should be surprised by writer-director Paul W.S. Anderson's lack of imagination. As a brisk, 90-minute exercise in generic thrills, however, Anderson's work is occasionally impressive... right ! up to his shameless opening for yet another sequel.--Jeff Shannon
Alien Vs Predator: It may be our planet but it's their war! The deadliest creatures from the scariest sci-fi movies ever made face off for the first time on film beginning when the discovery of an ancient pyramid buried in Antarctica sends a team of scientists and adventurers to the frozen continent. There they make an even more terrifying discovery: two unstoppable alien races engaged in the ultimate battle... Aliens: In this action-packed sequel to Alien Sigourney
Predator: The Special Edition (Dir. John McTiernan 1987): If it bleeds we can kill it... It sees the heat of their bodies. It smells their fears. It hunts for sport. It kills for pleasure. In a place without rules - the hunter has become the hunted. Deep inside the jungles of Latin America Schwarzenegger's team of elite commandos are being slaughtered by a mysterious predator. No longer are they hunters - they are the prey... of an alien whose only instinct is to kill. One by one it strikes with inhuman ferocity. Now to survive with the jungle as their only ally they face their greatest challenge: to stay alive. Predator 2: The Special Edition (Dir. Stephen Hopkins 1990): Last time it landed in the jungle. This time it's chosen Los Angeles. Ravaged by open warfare between rival drug gangs L.A. is the perfect killing ground for the Predator who is drawn by heat and conflict. When the police find mutilated bodies Lieutenant Mike Harrigan (Danny Glover) thinks it's the work of the feuding gangs. Then a mysterious government agent (Gary Busey) arrives and orders him to stay off the case. Instead Harrigan sets out to learn what is really going on and comes face to face with the savage alien in a climatic electrifying confrontation... Alien Vs Predator: The Special Edition (Dir. Paul W.S. Anderson 2004): Whoever wins...we lose. It may be our planet but it's their war! The deadliest creatures from the scariest sci-fi movies ever made face off for the first time on film beginning when the discovery of an ancient pyramid buried in Antarctica sends a team of scientists and adventurers to the frozen continent. There they make an even more terrifying discovery: two unstoppable alien races engaged in the ultimate battle...
No memory. No name. No mind. This man will act out someone else's insanity and revenge. Charles Bronson plays a convincing patient in this dramatic tale of deceit and hardened emotion. A neurosurgeon (Anthony Perkins) with a cheating wife takes his patient a confused amnesiac (Charles Bronson) into his home for intensive treatment. The doctor disturbed by his wife's affair conditions his lost patient to believe that the cheating wife is his own the gun in his pocket is his and the task he started prior to losing his memory was to find his cheating wife and her new mate and take the appropriate actions.
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