"Flips from stupid to sappy with the click of a button." (Pretty Bad)

On the one hand you could probably call "Click" better than most of Adam Sandler’s movies — because it has a mildly nifty sci-fi concept. On the other (more accurate) hand you could probably call "Click" worse than most of Sandler’s flicks — because it takes such a potentially clever sci-fi concept and does nothing with it that doesn’t involve fart jokes, hump-happy canines, and really limp slapstick.Digging through the pile of screenplays that Jim Carrey passed on, Adam Sandler came across Click and figured it was just clever enough to be ruined with the addition of the comedian’s patented brand of low-brow dimbulb humor. (Seriously, count how many times the movie re-uses a joke about dogs humping things. It’s freakin’ embarrassing.) In the hands of a filmmaker with even the slightest iota of talent (as opposed to, say, Frank Coraci), Click could have been a perfectly entertaining little sci-fi comedy. But since Coraci is on Sandler’s list of "go-to directors" (a roster that includes names like Dennis Dugan, Steven Brill, and Peter Segal, for some ungodly reason), the Click we’ve been presented with feels like a fairly clever sci-fi comedy that’s been overtaken by children obsessed with farts, boobs, and horny dogs.Sandler plays vanilla architect Michael Newman, a typically harried and stressed-out professional who never misses an opportunity to disappoint his adoring wife and button-cute kids. But after a goofy visit to the "beyond" section of Bed, Bath & Beyond (yes, they’re jamming alleged jokes into the product placement nowadays) Michael becomes the owner of a super-magical remote control. The device allows Mike to skip through life’s boring parts, rewind back through memory lane, and pause when he feels compelled to fart in his boss’ face. Truly, the first two-thirds of Click is a ceaseless carousel of fart jokes, carnally aroused dogs, and more product placement than you’ll find in five random movies.Yeah, that’s the kind of humor level we’re dealing with here — which normally would be par for the Sandler course. The guy’s never met a one-note concept he couldn’t beat into submission through sheer force of flatulence. So after about 85 minutes of gimmicky special-effects gags, limp humor, and painfully push-button "character moments," we’re expecting the flick to start wrapping itself up with just a few more urine jokes and crotch-kicks — but instead of the end credits popping up and allowing us to silently scold ourselves for having dropped another 12 bucks on an Adam Sandler movie, Click (without warning) turns into one of the most shamelessly maudlin and unconvincingly "heartfelt" Capra ripoffs ever made.So the equation is this: Spend 85 minutes mildly chuckling as limp schtick is paraded across the screen — and then spend 30 minutes getting all weepy-eyed as Sandler and Coraci try to turn an extended SNL skit into something in possession of an actual heart and soul. It’s borderline insulting to think that we’re meant to find any of this "wistfulness" even remotely sincere or effective, but there it is all the same. The movie doesn’t even have the sense or courage to simply stick to the low-rent vaudeville material; that the filmmakers feel they’ve earned any sense of emotional poignancy is an absolute farce.The very pretty Kate Beckinsale wanders through Sandler’s wake, careful to never take the spotlight away from the camera-hogging superstar, while the immortal Christopher Walken is given distressingly little to do. And if there’s one universal rule of comedy it’s this: When you get Christopher Walken in your movie, you better give the guy some funny material to work with. Against all odds, Click somehow manages to make even Christopher Walken seem tiresome, and for that I dislike the flick even more.The special effects are pretty cool, so there’s something nice I can say. Walken does earn a few stray giggles, the kiddies are cute, and Beckinsale’s a doll. Other than that, "Click" pretty much stinks across the board. When it’s not being hopelessly unfunny, it’s being shamelessly sappy. It’s a movie that shoots lazily for Capraesque and settles happily for Crapesque.
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DOWNLOAD MOVIE Overboard Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Girl Overboard (1937)

THE SCREEN; Marta Abba’s First Film, Loyalty of Love,’ Opens at The Broadway- ‘Girl Overboard,’ at the Central

Marta Abba’s screen début in “Loyalty of Love,” the Italian film which reopened the Broadway Theatre on Saturday night, is promising, but it is not nearly so felicitous an introduction to the charming Italian actress as “Tovarich,” which is presenting her for the first time to New York’s playgoers. “Tovarich,” of course, is a comedy, and “Loyalty of Love” is tragedy, but that signifies nothing. What does matter is that her picture, unlike her play, has been poorly written and wretchedly produced.

Handicapped by a dull script, inept direction, bad photography and incoherent editing, Miss Abba emerges triumphantly with an eloquent and touching performance. It is a demonstration all the more remarkable because the rôle, in itself, is merely a stereotype of wifely devotion, just as her dramatic scenes are the trite familiars of hundreds of stock melodramas. But there are dignity, honesty and vibrance in her playing, and the screen becomes electric when she fills it.

Barring its period (Italy in 1821) and its historical factor, the plot might have served any prison melodrama. It begins statically and confusedly with the account of a conspiracy to unify Italy and free it from the domination of Prince Metternich of Austria. Count Confalonieri, leader of the movement, has been engaging in another intrigue as well, this with a Polish noblewoman. When he and his fellow-conspirators are taken prisoner and sentenced to die, his wife, forgiving his infidelity, makes every effort to obtain his pardon. It is routine thriller after that, relying for its suspense upon the Countess’s frantic appeals to the Emperor and the Empress, the mad ride to deliver the pardon in time.

A competent Italian cast, overshadowed by Miss Abba’s preeminence, plays this turgid tale to the best of its ability and against the odds imposed by the picture’s technical defects. Too many dialogue titles attest to the over-talkative nature of the film. We shall feel better about Miss Abba when Hollywood takes her in hand. The Broadway Theatre, in case you have forgotten, is between Fifty-second and Fifty-third Streets.

LOYALTY OF LOVE, based on the play, “Count Eagle”; screen play by Rino Alessi; directed by Guido Brignone; produced by Film Production Co., Inc., of Rome. At the Broadway Theatre.

Teresa Confalonieri . . . . . Marta Abba

Princess Jablonowscka . . . . . Elsa de Giorgi

Empress Carolina . . . . . Tina Lottanzi

Count Federico Confalonieri . . . . . Nerio Bernardi

His Father . . . . . Luigi Carini

Prince Metternick . . . . . Luigi Cimara

Baron Salvotti . . . . . Filippo Scelzo

Franz the First . . . . . Riccardo Tassani

Governor of Milan . . . . . Romolo Costa

Field Marshall Bubna . . . . . Achille Maieroni

De Castilla . . . . . Erminio d’Olivo

Major Domo . . . . . Giovanni Barrella

In the definitive words of the currently popular threnode featured by a frog-voiced radio singer, Universal’s “Girl Overboard,” with which the Central Theatre is entering the first-run ranks, is “nuthin’ but a nuthin’,” and a Class B nuthin’ at that. Its most noteworthy feature is that the villainous Sidney Blackmer is dispatched early in this film (murdered with a corsage pin, in fact), whereas in most of Mr. Blackmer’s pictures his is the last malingering corpse to be dumped at the feet of triumphant Justice.

Other features are that Hobart Cavanaugh therein doffs his accustomed Milquetoast mask to become a precocious journalist, that, teamed with Robert Emmet O’Connor, big Ed McNamara has an ingratiating bit as a policeman (he hasn’t been out of the harness since “Strictly Dishonorable”), and that the shipwreck in the picture is an old-fashioned one, in which the passengers beat the members of the crew to the lifeboats. Other than that, the picture simply absolves Miss Gloria Stuart of complicity in film murder on shipboard of Mr. Blackmer, and sees her safely into the arms of Walter Pidgeon, the district attorney.

At the Modern Playhouse

The title of the current Hungarian film at the Modern Playhouse, “Szensacio,” ought to be in the plural, for no fewer than three “sensations” occur simultaneously in the office of the Budapest yellow journal of the film just as the city editor is berating his staff in true Hollywood style for having failed to dig up something hot for the front page.

As a result, to the accompaniment of a deafening belling of telephones, the staff covers for the audience a mine explosion with miraculous rescues; a diverting accident to an author member of the staff, the account of which replaces his daily fiction contribution, and the discovery, during the celebration of Franz Liszt’s birthday, of a previously unreported romance in the composer’s life. Only the cinema can do this sort of reporting job, because, in the case of Franz Liszt, it involves bringing to life a dead era. It is accomplished pleasingly, however, by a cast that includes such Magyar favorites as Ernest Verebes, Irene Agai, Julius Kabos and Ann Smogyi. The director is Stefan Szekely.

At the Teatro Cervantes

Vastly more popular this week at the Teatro Cervantes than the Spanish feature “El Octavo Mandamiento” (”The Eighth Commandment”) are the camera glimpses of the rebellion in Spain, which show the capture of Bujaraloz and Sietamo from the rebels by the loyal Catalonians and the advance of the latter forces almost to the walls of Saragossa.

There was applause left, however, for “El Octavo Mandamiento,” a romantic comedy with a dash of tragedy, imported from Barcelona along with the war scenes. The honors in this tale must go to the veteran Carmen Rodriguez as the prevaricating aunt of a beautiful heiress portrayed by Lina Yegros; but the comedian Luis Villasiul deserves a share of the laurels, too, for his gay unmasking of the deceptions of Tia Carmen which have prevented a poor auto salesman (Ramon de Sentmeant) from winning the spirited Lina. The boy Fernandito does fine work, too, as the lad who, obedient to the Eighth Commandment, refuses to compound the falsehoods which make the early reels go around.

At the Central

GIRL OVERBOARD, from a story by Sarah Elizabeth Rodger; screen play by Tristram Tupper; directed by Sidney Salkow; a Universal production.

Mary Chesbrooke . . . . . Gloria Stuart

Paul Stacey . . . . . Walter Pidgeon

Bobbie Stacey . . . . . Billy Burrud

Joe Gray . . . . . Hobart Cavanaugh

Harvey . . . . . Gerald Oliver Smith

Alex LeMaire . . . . . Sidney Blackmer

Charlie Jenkins . . . . . Jack Smart

“Dutch” . . . . . David Oliver

Molly Shane . . . . . Charlotte Wynters

Sam LeMaire . . . . . Russell Hicks

Sergeant Hatton . . . . . R. E. O’Connor

Captain Murphy . . . . . Edward McNamara

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In
the year 2000 however, Marvel stepped up their game with the release of one of their most
popular properties: the X-Men. Yes, there were tweaks to the character’s
histories, but for the most part, Bryan Singer was pretty faithful. Grossing close to half a billion dollars
worldwide, this flick made way for the equally popular and similarly high grossing Spider-Man
- a flick with a slight controversy that many fans overlooked thanks to its
devotion to the source material. After the success of these two flicks, the floodgates opened and it
seemed as if Marvel was on its way to licensing practically every character that’s ever had a solo comic. So far we’ve seen

the Hulk, the Punisher and Blade (3 of ‘em!) hit the silver screen. And that’s just scratching the
surface. There are a lot more Marvel properties either "In
Development" or "In the Planning Stages". On
Valentine’s Day in 2003, Marvel released Daredevil starring Ben Affleck, Colin
Farrell and Jennifer Garner. While I was far from impressed with it, the film went
on to gross $179 million worldwide and i’m guessing Jennifer’s performance
convinced Marvel that Elektra deserved her own flick. 

Two years later, and taking even less of Elektra’s history into account than Daredevil director Mark Steven
Johnson did, Rob Bowman (working from a script written by three writers)
works with what he’s given. However, it’s not much. If you remember, when we last saw Elektra, she was having
her own sai driven
through her by Bullseye (Colin Farrell), possibly killing her. I’m saying
"possibly" since it was inferred at the end of that movie that she left Matt Murdock a token of
her affection on the rooftop where he worked out. But….forget all of that.
That’s not important. In fact, there’s hardly any reference to these events
other than a terribly brief flashback showing Elektra in an
ambulance followed by her sensei Stick bringing her back to life. Through even more
flashbacks, we see Elektra’s training before Stick banishes her for not having a
grip on her violent tendencies. So what does she do? She becomes an assassin for hire. That is, until she takes a contract
requiring her to kill a thirteen-year old girl and her widower father. For reasons
unbeknownst to Elektra at the time, she decides to refuse the contract, instead becoming
their protector. 

However, with what little extras this DVD has, the whole thing
smacks of a rush release until a "Director’s Cut" further down the
line. And considering Marvel’s recent track record for "Director’s
Cuts" (Daredevil & the Punisher) and FOX’s penchant for incessant
double dipping (the X-Men 1.5, I, Robot, the Day After Tomorrow & Man On
Fire), as I said, I would not be surprised if they released a director’s cut or fully loaded SE in the near future. If you’re a fan of the
character (or the movie), I’d recommend you Rent It and wait to see.
However, if you can’t wait, make sure you get it cheap. From the story to the extras,
this is one skimpy disc.

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Yay,what better way to enjoy a Wednesday night in front of the telly than
with a good-old DTV Rutger Hauer movie.Right?Er,sadly no.To start with,the
purpose is kind of defeated when Hauer’s screentime is really limited.But
this is really the least of your problems.Cliched characters,comically low
budget bee effects and laughable dialogue throughout are.Oh,and it’s also
overlong.Just letting you know.*

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DOWNLOAD MOVIE Scary Movie Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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A good spoof is hard to find now that Mel Brooks has been preoccupied with Broadway. Earlier this year we had the horrific and anger inducing “Date Movie” which, for your sake, I will not take the time to verbally abuse. Now we have the barely sub-par “Scary Movie 4″, directed by David Zucker (Airplane) and starring Anna Faris (Brokeback Mountain), Craig Bierko (Cinderella Man), Leslie Nielsen (Naked Gun) and Regina Hall (The Honeymooners). The good news is it’s certainly better than both “Date Movie” and even “Scary Movie 3″, but the bad news is that’s not saying much.

Cindy Campbell (Faris) just doesn’t seem to have any luck avoiding evil beings, ghosts, or serial killers. Despite the fact that she has sometimes not even survived past additions to the Scary Movie series, she always returns for the next film with no explanation why. It’s a spoof. Do they really need a reason? In Scary Movie 4, Cindy moves to a new town and finds a job as a housekeeper. Her next door neighbor is Tom Ryan (Bierko), a dock worker who’s failed marriage and ineptitude as a father keeps him on the lookout for the next Ex-Mrs Ryan. And everything seems to be great except for the creepy japanese ghost that lives in her house and the alien Tri-pods that have come to destroy everything in their path. Sound familiar? Of course it does. It’s a spoof movie.

The Scary Movie series has never been that funny. The first two overloaded on being gross for a laugh (anyone remember the geyser of sperm?) and number 3 left me with a very sour feeling. I find it interesting that, to me, Scary Movie 4 is the best of the bunch. Don’t assume that means I’m recommending it. The film does have some pretty hilarious moments, but they have been sparsely scattered amongst a great deal of flat or unfunny scenes.

The film opens in an obvious parody of “Saw”, but this time it is Shaquille O’Neal and Dr. Phil McGraw who are playing the game. Afterwards it cuts to James Earl Jones reciting Morgan Freeman’s lines from ”War of the Worlds” and we get the first real giggle inducing bit when microscopic organisms jiggle, dance, and flash the camera to the tune of “I Like Big Butts”. Some of the other highlights of the film include: an overdose of viagra; the alien crafts being giant (Tr)I-Pods that switch from “Awesome 80s” to “Destroy Humanity”; a ghost victim being used as an office supply; a Dakota Fanning look-alike being struck by lightning (twice) and also by whatever blunt objects imaginable; and the US president’s obsession with a story about a duck.

What kills the movie is it’s lack of energy. I’ve never understood why Anna Farris is one of the only two original cast members to return for each film in the series, because she has always been the most forgettable with her lack-luster ditzy girl impression. The saving grace comes from Regina Hall as Cindy’s sex obsessed friend Brenda. She adds the much needed energy to each scene she is in, which makes it a pity that she isn’t introduced until the movie is half over. I also thought that  Bierko gave a memorable performance as clutzy neighbor Tom Ryan. I’m sure most people will appreciate the scene where he spoofs Tom Cruise’s behavior on Oprah.

Much like most spoofs, every scene seems to be directly taken from the movie it parodies. But it’s when the film breaks the mold and does something unexpected that my interest is peaked. You get a few moments like that from this movie, but usually you’ll be expecting the joke long before you get to it. When Anthony Anderson and friend have a flashback about being two cowboys out in the wilderness…well…you already know where it’s headed. Even the “twist” at the end of the film leaves you feeling cheated.

While “Scary Movie 4″ will not be joining the short list of decent spoof films, it will not be known as one of the worst either. I left the theater feeling unsure exactly how I felt about the film because I at least got a few good laughs in. The movie is average as far as spoofs go. I will give it that honor. At the end of the year, when you think back to your favorite comedies you had seen over the course of it, you might not even remember Scary Movie 4 at all. If you decide you must see it, bring along friends and see it in a crowded theater. The contagious quality of cascading laughter through the room may be the only thing that saves this movie for you.

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The movie shows a veteran cop, Mac (Gene Hackman), who is saddled with a brilliant partner, Ellis (Dan Aykroyd), that has a personality disorder-whenever he gets stressed, he starts acting like various television characters. Other than that, he’s sharp as a tack but it obviously puts the team in great danger when they begin investigating a case with a lot of hostile bad guys. The team stumbles across a case involving a porn tape made by Hitler (yeah, that Hitler) and it’s political ramifications. The bad guys don’t want the tape released and will stop at nothing to prevent it from being distributed. If that sounds like a clich

Based on a true story, Cinderella Man is Hollywood formula filmmaking at its finest.  While there aren’t many major surprises, the film still excels thanks in large part to the professionalism and skill of everyone involved in making it.  It may not give you the most mileage for your dollar, but there’s no doubt that this is one well-oiled machine, intricately constructed with precision and care to be an uplifting, crowd-pleasing triumph.  Even grinches will most likely concede that it works, and works quite well, delivering exactly the right build-up for a riveting finale, and even if you know the full story going in, the pleasure is in the way the story is told, and not just the destination. The film is set in the late 1920s to mid 1930s, where boxer James J. Braddock (Crowe, Master and Commander) has seen his days as a professional boxer collapse when he tries desperately to fight with injuries to his right hand.  The Great Depression is all around, and with jobs as scarce and as low paying as they are, Braddock continues to try to box for money despite losing more often than he wins.  The boxing commission finds out and suspends his license to box, leaving Braddock with a broken hand, a wife (Zellweger, Bridget Jones: The Edge of Reason) and three kids to feed, and not enough money to pay the electricity.  He struggles to keep the family together, piling on grueling days where he will work for hours despite the injury, only to still not be able to cover his debts.  Braddock catches a slight break that would change his life, when his ban on boxing is temporarily lifted so he can be a last minute replacement to fight one of the top contending boxers in the country.  Thus begins a fairy tale story of how one man’s luck can change overnight, through perseverance, hard work, and a willingness to lay everything on the line now that he has something to fight for. Director Ron Howard (The Missing, A Beautiful Mind) scores big going straight to the heart of populist filmmaking, pulling out old-fashioned styles from his bag of tricks to tug at our heartstrings and make Braddock the everyman hero we can all rally behind.  Thanks in large part to a stellar performance by Russell Crowe, Braddock ends up being one of the most brave and entirely likeable characters in recent memory, with situations so heartbreaking that it’s hard not to be emotionally stirred when he finally sees some long overdue success.   The supporting characters are also fantastic.  Renee Zellweger turns what could have been a thankless role as the long-suffering wife and makes her a very sympathetic and influential character in the story.  Paul Giamatti (Sideways, Paycheck) also delivers a great performance as Joe Gould, Braddock’s mentor and manager, who is driven purely out of his love for an honest and noble man, and not for the money.  Craig Bierko (I’m with Lucy, The Thirteenth Floor) beefs up for the role of the daunting champion Max Baer, who is painted to be the heavy of the story, quite menacing and cocky in a way that makes him unlikable, but in a nuanced way that lets you know that underneath the tough exterior, much of it is a lot of bark to antagonize his opponents into fear and intimidation. If there’s a slight weakness to the piece, it’s the pat screenplay, which takes an already inspirational story and dissects it almost completely into a well-established underdog formula like so many other films of a similar nature have been in the past.  While Braddock’s comeback is a matter of public record, this is the kind of movie that still feels very much like a fictional work, with all of the story manipulations and rise-and-fall plotting you would expect, proceeding perfectly according to plan. Still, though it is a mechanical crowd-pleaser underneath, the performances, direction, and the gorgeous music (another fantastic job by Thomas Newman) are so on-target that this is still quite easily one of the best films of 2005.  This is quintessential old school filmmaking that still works well for today’s audiences.  Who says they don’t make ‘em like they used to?

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The film first begins somewhere in the mid eighties accompanied by some
really cool edit shots of group of young outlaws chasing a helpless
chicken through the suburbs of Rio, Brazil thus we stumble upon are
very hero Rocket - aka Buscape, who is caught up in a two way stand off
between the police and outlaws. Then we are whisked back to the 1960’s
as to how it all started. Then begins the narration to inform us (the
viewer), through the humble beginnings of life in 1960’s through to the
present. We are first given the main characters Buscape, who bravely
confesses that he wants to choose an honest life of becoming a creative
photographer rather than ending up choosing a life of crime his older
brother is engulfed in. After a night of holding up a motel, The Tender
Trio begin to disband, leaving all but one to make a true start to
living a decent life with the others to disappear but not without
deadly consequences.

Flash forward a few years later and we see are main protagonist now at
school and still maintaining an honest life but apart from truanting
school, to enjoy life on the beach and determined to lose his virginity
with right girl. Then it’s not too long before we are introduced to a
new set of hoodlums determined to own every piece of the neighbourhood
and drug running business that starts pollute the whole slums. Thus
ensues the long and violent tale of life in the hood.

The one thing that stands out so well in City of God is the
photography, narration and above all razor sharp MTV style editing that
flaws most films with their own styles.

Fernando Meirelles really does ram this film home and paints a really
bleak image of Brazil the world is none to familiar with.

Now with this exploding on to the silver screens the world over this
really does introduce the the new age of independent cinema, Hollywood
certainly didn’t see this once coming - shame on them.

Gracias Deus - Thank God 10/10

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