2011 - I am Number Four

Nine infants Lorien alien from the planet that is very similar to human beings sent to Earth to hide from the pursuit of the enemy, which is destroying the planet Mogadorians Lorien. Knowing this, the ninth Mogadorians follow these infants to the earth. The nine infants, respectively numbered & protectors that can develop their strength in adulthood. Baby baby can only be killed in accordance with the order number. So far Mogadorians has managed to kill a baby number one, two and three. 

Number four (Alex Pettyfer) named John Smith has moved into the area Paradise, Ohio and masquerade as students. There John befriended by Sarah Hart (Dianna Agron), a photographer from Midwestern. John eventually end up falling in love, but at the same time John had a conflict with Number six. John faced with two choices, resolve conflicts with number six or defend Sarah.

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2011 - Drive Angry

This film tells about the mission of Milton (Nicolas Cage) to save her baby daughter from the pursuit of a satanic cult that would make such an offering Milton baby at a ceremony at the full moon later. 

Having managed to escape from hell, accompanied Milton Piper (Amber Heard) have time to save her baby 3 days before the full moon arrives. In such a narrow time they should be able to stop the act of a satanic cult sects, including the sect's leader, Jonah King (Billy Burke). 

But apparently the enemy Milton grew when the police is now also chasing him. And the more complicated situation because he is also hunted by "the accountant" a messenger of Satan's supernatural agent sent to bring back Milton to Hell.

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2011 - Alien vs Ninja

Plot of the movie begins when a ninja clan, Iga Yamata (mimoto), Jinnai (Kashiwabara) and Nezumi (Tsuchihira) are returning to their villages after completing one of their missions, on the way home that they saw the fireball from the sky falls in the forest near his village . Together with a ninja another (Iga Rin (hijii)) they decided to investigate these fireballs. Which turns out without their suspect, they met and faced with a terrifying creature, Alien. Although the film is simple enough story to something that extreme, but this is actually a clever way Seiji Chiba to avoid unnecessary repetition of stories and things that may actually slow down from what he really wanted to be witnessed by the fans. This is a lesson for the exploiters of other films so as not to insert too many unnecessary things that sometimes make the core of the story into a hurry and ran out of time. In this case Chiba appears certainly do not want to take things too seriously, and just take a little cuteness of the characters. Attendance Yuji Shimomura is surprising and suggests a very strong in this film, with action choreography that is very much that almost did not allow time for viewers to blink. In general, this movie is very creative and fun, filled with imaginative scenes and ridiculous.

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credit : http://cinema3satu.blogspot.com/2011/02/alien-vs-ninja.html

2006 - Pacquiao The Movie

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2003 - The Italian Job

The Italian Job is a remake of a 1969 film starring Michael Caine. The original isn't yet available on Netflix as it hasn't been released on DVD yet, so we haven't seen it and cant compare it to the new version. However, if it is half as entertaining as the 2003 version we look forward to it.

Mini Cooper in The Italian JobMarky Mark Wahlberg plays Charlie Croker, the protege of master thief John Bridger played by Donald Sutherland. John is looking for one last big job before he retires. With a very clever plan they rip off $35 million in gold. However, a member of the crew, played by Edward Norton, double crosses everyone else and kills Sutherland's character and makes off with all of the loot. Predictably, the rest of the crew wants their gold back. They hatch an even more elaborate scheme than the original robbery to get it.

There's a certain sense of style in this movie that reminds me a bit of Oceans Eleven, although this cast isn't quite as large in either name or number. All of the characters have cool nicknames, histories and are very good at their individual jobs. And the actors seem to have a lot of fun with these roles and do a good job. Seth Green really surprised me as a standout. He stole a number of scenes playing the hacker of the group. He calls himself "The Real Napster" claiming that Sean Fanning stole the program from him while they were roommates in college.

None of these guys are the real star of the movie though when you get right down to it. The star is the Mini Cooper. The chase scenes with these little guys are a lot of fun to watch on the big screen. What other car can you race thru a small drain pipe? And even on the street, they were making maximum use of the fact that the Mini Cooper is capable of maneuvers normally reserved for go-carts.

The Italian Job has flaws, but try not to over analyze the movie or pay undue attention to detail. Just sit back and enjoy the ride that the film is going to take you on. This is what summer movies should be like. We had a lot of fun, and the chase scenes alone were worth the price of admission. We give this movie a strong 4 stars.

Sumber : www.moviesforguys.com

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2011 - The Resident

by Joe Oliveto

Hilary Swank makes some odd career choices. For every beautiful and challenging film she appears in, like “Boys Don’t Cry” or “Million Dollar Baby,” she goes for some gimmicky pseudo-blockbuster, like “The Reaping.” She’s extremely talented, but it’s easy to forget that when all of her great performances are sandwiched between two-dimensional roles that ask her to do little more than look serious and/or scared for two hours.

At first glance, it looks as though “The Resident” will be yet another movie that makes a few bucks opening weekend and then is forgotten about forever, but we won’t completely write it off just yet. It’s another feature from the legendary Hammer studio, which recently returned to the cinematic world with last year’s terrific but under-seen “Let Me In,” an American adaptation of the novel that inspired “Let the Right One In.” That’s good news.

More good news comes in the form of the supporting cast. We already know Swank can act, although her heart never seems in it with these types of roles. But as far as co-stars go, she has Christopher Lee, who has made a career out of stalking the frames of Hammer films (he plays “evil sinister guy” well enough to play villains in both the “Star Wars” prequels and “The Lord of The Rings”), and Jeffrey Dean Morgan, who may not be as talented as his lookalike, Javier Bardem, but is making a name for himself as a noteworthy character actor.

The problem with movies such as these are that they need to be fantastic in order to be memorable. A lot of merely “good” movies still find a place in our cinematic memory because the stories they told dealt with themes that helped to ingrain the film into our minds. Movies like these, where subtext is hard to come by and plot is everything, need someone like Hitchcock at the helm to make them work, otherwise they become little more than an overpriced way to waste time on a Saturday afternoon.

Still, from what we can glean from the trailer, the premise is creepy enough—just the thought of someone intruding into your home is unsettling—and if the filmmakers put in their best effort, maybe we’re in for a surprise. Just don’t bet on it.

Sumber : www.weekinrewind.com

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2004 - Harold Kumar go to White Castle

There is a key to good'n'stupid lowbrow comedy that few lowbrow moviemakers understand, and it is this: If you have a thin but serviceable premise upon which to build cheap, vulgar, tasteless, but side-splitting dumb gags, don't slap together some insipid story clogged with clichés to prop it up -- just run with what you've got.

Don't turn your movie into Adam Sandler or Rob Schneider fodder, full of insulting attempts to make audiences genuinely feel for your imbecile heroes and wishy-washy life lessons for your stock characters to learn in the last act. Don't be an "American Pie" and backpedal on your vulgarity at the last minute with a hypocritical-apology "happy" ending.

Instead, be proudly, shamelessly, flippantly stupid, like "Harold and Kumar Go to White Castle," in which two recent-grad, odd-couple roommates don't discover anything about themselves, they never see any "bigger picture," and they don't grow up at all. They just get stoned out of their gourds on a Friday night, develop the munchies for those famous square hamburgers from the titular eastern-U.S. fast food joint, and spend the rest of the picture having preposterous misadventures while driving all over New Jersey hunting for the nearest franchise location.

But don't mistake great stupidity for a lack of character or self-awareness. It's no coincidence that these two buddies would be nothing more than token minorities in any other garish comedy -- existing only to be the butt of ethnic jokes -- and it's not by chance that their friendship is better developed than any part of the plot.

John Cho (humorously identified in the movie's trailer as "that Asian guy from 'American Pie'") plays Harold, an uptight, neatnick nerd who provides the movie's only semblance of conventional plot by being dumbstruck in the presence of a pretty neighbor whom he's too nervous to hit on. (Guess what happens at the end?)

Kal Penn ("that Indian guy from 'Van Wilder'") plays unmotivated, wisecracking, reluctant genius Kumar, who has developed a philosophy about his off-the-chart MCAT scores and family pressures to attend medical school: "Just 'cause you're hung like a moose doesn't mean you have to do porn."

Cho and Penn carry the picture with their comedic chemistry as bawdy, smarty-pants, all-American outcasts who barrel through everything from a raccoon attack (by a cheap puppet in the tradition of the "Caddyshack" gopher), to a run-in with a boil-covered tow truck driver (who invites them to have a foursome with his impossibly hot 19-year-old wife), to a bewildering hitchhiking encounter with Neil Patrick Harris. Cameos abound in this picture, but seeing the former "Doogie Howser" on a toked-up gonzo tear of car swiping, joy riding and stripper fondling is a gimmick that could have gone very wrong if director Danny Leiner didn't have a comprehensive understanding of the finer points of uncouth comedy.

Exploding stereotypes and embracing the asinine at every opportunity, Leiner (who was less successfully stupid with "Dude, Where's My Car?") throws weird, lewd jokes at every wall, and they don't always stick -- as evidenced by a handful of truly talentless supporting players and one gratuitous, near-scatological scene (far below the rest of the picture's roguish wit) which is supposed to be funny simply because the flatulent parties are pretty girls.

But the balance of "Harold and Kumar" is hilarious, and just why that's the case is hard to explain since its better gags just don't translate well to print. While unabashedly unsophisticated, this flick is subtly smarter, more audacious and more finely tuned than other movies of its ilk -- and that has a lot to do with the timing and delivery of Cho and Penn.

These former supporting players are so effortlessly droll and every-dude charismatic that this movie may just launch them out of "that guy" semi-celebrity status into a higher orbit of well-deserved stardom.

Sumber : www.contactmusic.com

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2005 - Constantine

Comic book adaptations have had a bit of a mixed run of late. In the late 90s Joel Schumacher’s Batman and Robin had buried any respect for superhero flicks and its memory had been hanging around the studios like some rotting corpse in a rusty gibbet, swinging from the city walls of Hollywood as a warning to all filmmakers of what could happen if a lot of money is invested in a project with no thought or care. Then the arrival of Blade in 1998 set in motion a chain reaction; a run of hugely successful comic book adaptations made by filmmakers who learned not to mess with the source material. In particular, both Spider-Man and X Men movies set the benchmark for superhero films.

The films that proved not so successful have been the ones adapted from the less well-known comics. Taken it itself, From Hell was a pretty efficient whodunit, but it completely failed to capture the complex, multi-layered narrative of Alan Moore’s source comic. Moore’s League Of Extraordinary Gentlemen was similarly stripped of its intelligent charm and was, frankly, dreadful. More recently, Ang Lee’s Hulk seemed to divide both audiences and critics alike, The Punisher failed to convince and it was down to Hellboy to salvage some credibility back into the genre. So where does that leave Constantine?

The character of John Constantine is taken from the DC Vertigo Hellblazer series of comics and first appeared in 1985, gracing the pages of the Saga of Swamp Thing by Alan Moore (he does get around). Born with a gift he didn’t want, the ability to clearly recognise the half-breed angels and demons that walk amongst us unsuspecting mortals disguised in human skin, Constantine was driven to take his own life to escape the torment that this ability caused him. But he failed. Resuscitated against his will, he found himself back in the land of the living, condemned due to his attempted suicide to patrol the borders of heaven and hell, using his unique ability to help others.

The great thing about Constantine is that he is a true antihero. With a shock of blonde hair, dry cockney wit and never without a fag stuck to his lips the character makes for great reading. Disillusioned by the world he will fight to save your soul but he doesn’t want your thanks; he just wants out. So purists of the source comic will automatically have their noses put our of joint by the fact that dark-haired Canadian Keanu Reeves has taken the role and the action of the film has been lifted from London and transplanted to Los Angeles. Also gone are the wisecracks; instead Reeves plays Constantine with a heavy heart. As in the comic Constantine is a chain smoker, but this version of the character seems to be bordering on clinical depressive. Only the occasional deadpan one liner leaks out every now and again.

Aside from these changes, and given that about 99% or the cinema-going public won’t have read the comic, how does the film play? Well, large parts of it are great. Shot in muted colours, director Francis Lawrence has created a suitably brooding, atmospheric-looking thriller that paces itself well. Constantine is enlisted to help a sceptical police detective, played with conviction by Rachel Weisz, to solve the mysterious death of her twin sister, a quest that will take both of them to hell and back and will involve the angel Gabriel (an androgynous Tilda Swinton) and Lucifer himself, who in this film takes the form of Coen brothers’ favourite Peter Stormare and who thoroughly enjoys the part - and may be the best thing in it!

The film is however pretty uneven. Simply put, while large chunks of it are really dark and exciting, there are moments that are pretty bad. The script is pretty hokey in places and the demons range from scary to cheesy and unoriginal. Plus, Constantine has a pretty annoying and totally unnecessary sidekick and Gavin Rossdale, who hams it up as demon Balthasar and is lead singer with average rock band Bush, should really stick to his day job making average music.

I should come clean now and admit that I really am not a fan of Keanu Reeves and do not think he is a good actor in any way, shape or form; he even made Kung Fu look unconvincing in The Matrix. In Constantine however, I found him give his most watchable performance since Bill and Ted, but every now and again his usual slightly disabled tone and awkward mannerisms rear their ugly head.

That said, if you’re not a diehard fan of the Hellblazer comics it is well worth seeing. And judging by the success of The Matrix, most people don’t have the same problem with Reeves as I do so it’s obviously my problem and I’ll deal with it in my own way. At the end of the day there have been better comic book films than this, but there have been more made that are far, far worse. Constantine looks great, has some cool moments and is a pretty good set up for what could be a franchise that has potential to get better and better.

Sumber : www.futuremovies.co.uk

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2006 - Borat

by  Josh Tyler

It's not easy explaining to his detractors exactly why Borat is so funny. To me, it's kind of like what Jackass would be if Johnny Knoxville and his boys had the brainpower necessary to become master satirists. It's insanity and discomfort on an epic level; it's lunatic stunts and unbelievable assaults delivered with a purpose; it's high-minded sarcasm and blistering social commentary wrapped up in a dirty brown, low-brow package. As a small part of "Da Ali G" show Borat was clever. Now as a movie, he's the funniest thing you'll see this year.

Borat is the brainchild of British comedian Sacha Baron Cohen, a mockumentary about a character poured from the mold of every bad third-world stereotype imaginable. In his native country of Kazakhstan Borat is a happy-go-lucky, well-known TV reporter with his own clock radio and a successful family. His sister is the fourth best prostitute in the country and as he demonstrates during his self-introduction, one hell of a kisser. Borat approaches life with a zestful enthusiasm, and he's completely unaware that he and everyone in his country are sexist, racist, homophobic, anti-Semitic bigots.

After taking us on a visit to see his village celebrate the running of the Jew, Borat explains that he's making a documentary for the government of Kazakhstan. They're sending him to America to learn what makes our country so great, and then bring back that knowledge for the benefit of the great Kazakhi people. He hops in a car, instructs the driver to start the mule pulling, and departs from his tiny, dirty village to head towards America.

On his original cable show, Cohen's formula was to travel America in character, forcing real people who weren't in on the joke to interact with and be offended by Borat. In doing so, he poked a sharp stick into the flaws of American culture, satirizing it while at the same time letting Borat make fun of himself. Unlike the movie version of Ali G (Ali G Indahouse) which abandoned Ali G's formula in favor of a lame, scripted adventure; Borat sticks with what made the character so great to begin with, and only amps things up by wrapping Borat's short collisions with random Americans into a single cohesive story with plot-driving scenes shot using actors. The transition between moments where Borat's reacting to and getting reaction from real people and when he's not is so seamless that eventually it becomes impossible to tell what's real and what's not in the film. It all flows together into one, complete movie. Every moment of Borat feels perfectly authentic, even when it's not. You'll get lost in the character, and forget when he is and isn't for real.

That's what makes the film so insanely funny. Borat gives us actors out in public doing their thing, and half the time the reaction they get from hapless bystanders is as funny or even funnier than what they're doing. Every gag Cohen pulls off is turbo-charged, since you're laughing at what he just said and then laughing at the way the poor fellow he said it to is taking it. Cohen's commitment to his character is total. So much of what he does is off the cuff, and the way he holds it together as Borat, the way he always seems to know exactly what Borat should do in response to others is awe-inspiring. He stays with being Borat in the face of anything: threats, physical violence, arrest. Nothing can sway him from sticking with the character.

The movie takes aim at both individuals and social institutions, and this time lampoons not just America but the world outside it by Borat's reactions. In a strange way though, it also says some rather nice things about our country, simply by comparison to Borat's backwards, savage little home. Ultimately though, it's offensive, vicious, and unrelenting in its satire of everyone and everything. It's also ridiculously funny. There are things in this film that will literally blow your mind. A day after I saw it, I still have a hard time believing that the Borat's big finale actually happened. How does he get away with it? It's a rare movie that manages to be disgusting, filthy, and incredibly intelligent all at once. Sacha Baron Cohen is a genius, and his new film is a comedic masterpiece. Oh, and wow wow wee waa is it ever funny.

Sumber : www.cinemablend.com 

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1991 - Hot Shots

1991 - Hot Shots Review By JANET MASLIN

It's heartening to know that while we sat through one of the emptiest synthetic hit movies of the 1980's, the seeds of parody were being sown. It's also nice to see that the three-headed Zucker-Abrahams-Zucker directorial entity, the one responsible for "Airplane!," has split into three fully formed talents without any apparent loss of verve.

Mr. Abrahams has directed his brazen, funny "Hot Shots!" with much the same glee that shows up in David Zucker's "Naked Gun 2 1/2," and with a little something extra: a satirical view of other movies, one that might have been shaped by Mad magazine. When the fighter planes of "Hot Shots!" are being readied for flight, in the kind of souped-up inspirational montage that was a "Top Gun" specialty, there are suitcases to load and marshmallows to roast in the flaming engines. And when the planes, now airborne, engage in dizzying swoops and turns, watch out for Garfield dolls stuck to windshields and candy wrappers flying loose around the cockpit.

"Hot Shots!" follows the basic outline of "Top Gun," with the story of daring young Topper Harley (Charlie Sheen) and his fellow pilots, but it is more than happy to indulge in the occasional detour. Topper himself is first found living in seclusion in a tepee and using an Indian name that translates, he says sternly, as "Fluffy Bunny Feet." When he converses solemnly with an Indian elder, those viewers who ignore the subtitled dialogue will find the actors reciting the names of some of Michael Jackson's siblings, with appropriate Indian pronunciation.

Once Topper finds his way to the Air Force, the film has ample opportunity to cram sight gags into the corners of the frame, like the jogging recruits chanting the song "Dreidl," or the Amish extras who turn up (no doubt in honor of Kelly McGillis's performance in "Witness") in a nightclub scene. The air base also features Lloyd Bridges as the kind of officer who answers the question "How are you?" with: "Hawaii? I'm supposed to be in California."

There is more -- much more -- where this came from, most of it in a slightly more movie-minded and less schoolboyish spirit than Mr. Zucker's current hit. In choosing to sustain a feature-length parody of a familiar film, Mr. Abrahams and his co-writer, Pat Proft, forfeit the chance to be as unmitigatedly manic as "The Naked Gun 2 1/2" and risk the occasional slow spot. But they also lay the groundwork for more sustained comic caricatures.

One of the best of these involves nice, clean-cut Pete Thompson (William O'Leary), the obviously ill-fated pilot who explains sweetly that his friends call him "Dead Meat." One ominous day, he arrives at the airfield with his loving wife ("Things just couldn't be better for us," one of them says about the marriage). He also claims to have a solution to global warming and new data about President Kennedy's assassination, but explains that he'll save all that for after the flight. While it's not necessary to have seen "Top Gun" to appreciate such a scene, the memory of that film's false piety and mechanical plotting does a lot to enhance the even more false and mechanical aspects of this one.

Charlie Sheen brings just the right exaggerated seriousness to his ace pilot's role, and Cary Elwes perfectly captures the ingenue arrogance of Topper's handsome rival. Jon Cryer, as a pilot with major eyesight problems, also displays expert deadpan timing, especially when he delivers the film's most uproarious line. Valeria Golino, as the beautiful psychologist who becomes Topper's love interest and also winds up singing a torch song atop a piano a la "The Fabulous Baker Boys," is also slyly comic and a very good sport. It should be pointed out that in this film, unlike the one with Michelle Pfeiffer, the top of the grand piano on which the actress sings happens to be propped open.

Among the other satirical flourishes to be found here, interspersed at wonderfully unlikely moments, are a send-up of the ice cube-enhanced sex scene in "9 1/2 Weeks," which in this case involves a full breakfast; a glimmer of "Marathon Man," and a montage revealing just what "Rocky," "Superman" and "Gone With the Wind" have in common. Also worth noting: a moment when saluting pilots are given the "at ease!" order and instantly assume the poses of a casual fashion layout, complete with football and flying muffler.

The credits for "Hot Shots!" include a partial brownie recipe and a few suggestions for what to do after the film is over. This is evidence that Mr. Abrahams has no idea when to stop. It is to be hoped that he never will.

"Hot Shots!" is rated PG-13 (Parents strongly cautioned). It includes sexual suggestiveness and mild profanity. Hot Shots! Directed by Jim Abrahams; written by Pat Proft and Mr. Abrahams; cinematographer, Bill Butler; edited by Jane Kursons and Eric Sears; music by Sylvester Levay; production designer, William A. Elliott; produced by Bill Badalato; released by 20th Century Fox. Running time: 85 minutes. This film is rated PG-13. Sean "Topper" Harley . . . Charlie Sheen Lieut. Cmdr. Block . . . Kevin Dunn Kent Gregory . . . Cary Elwes Pete Thompson . . . William O'Leary Jim Pfaffenbach . . . Jon Cryer Ramada . . . Valeria Golino Admiral Benson . . . Lloyd Bridges

Sumber : http://movies.nytimes.com/

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