Jeremy Butler

 “Season of the equinox, the witch besets her kill; one last soul, the town to know taken against their will.”

I’m not the type that scares easy, and I’m not overly superstitious. But when it comes to urban legends, I know there are a few things I never intend to do: I never intend to say “Bloody Mary” three times in the bathroom mirror, I never intend to mix Pop Rocks and Coke, and, if there is a legend about a witch that will come after you if you break one of windows of her house, guess what? I won’t be picking up a rock.
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“Some people are lucky enough to find their true passions. That’s okay, because their passion makes them feel like somebody. Sometimes it’s the only thing that keeps them moving. I know some people don’t get mine. My passion is jumping rope…competitively, but I like it.”

Growing up I can remember a desire to tie my parents up; did anyone else share that desire? Don’t get me wrong, this desire was not meant with malicious intent, but to simply grasp the full attention of my parents.
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Things needed to survive a zombie apocalypse: a secure location to hole up in, water (lots of water), canned goods, a hatchet, and a high-powered rifle (preferably with a scope). Luckily for Jim, the main character of State of Emergency, all these things just happen to fall into his lap. Produced by the Clay Brothers (Haven’t heard of them? That’s okay, neither have I.), State of Emergency is their second feature film, and though it ultimately shows promise, it could have been better with a few tweaks.
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“Solving the following riddle will reveal the awful secret behind the universe, assuming you do not go utterly mad in the attempt.”

Never question the importance that a title plays in the success of a film. The title is the first thing that you encounter when discovering a new movie. Let me set the scene: you are at home, bored and looking for a movie to watch so you go to a Redbox kiosk or log onto your Netflix (given that video stores are close to extinct at this point); you narrow your selection down to two titles.
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It is truly amazing the career that Tom Green has had when you really sit back and think about it. Tom has made a career as an oddball whose antics would either make you laugh hysterically or raise a brow with suspicion of his mental state. His personality has taken him to many heights, from a Canadian Public Access show to MTV, MTV to the silver screen, but it wasn’t until he got in front of the camera and documented his battle with testicular cancer that many people would stand up and take notice of Hollywood’s strangest man.
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Timing is everything in life; being in the right place at the right time could mean great fortune. Of course the other side of that coin is that being in the wrong place at the wrong time could mean great misfortune; want to guess on which side the coin landed in Stand Off? (Hopefully you guessed misfortune; otherwise stop reading now.) Brendan Fraser leads the comedy about a botched robbery which eventually transformed to an even bigger mess. I’ve been a Brendan Fraser fan dating all the way back to Encino Man, and I was especially excited when he achieved action hero status with the The Mummy franchise
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“They cry, they plead, they beg, they piss themselves, they cry for their mothers. It gets embarrassing. I like to kill ‘em softly. From a distance.”

Brad Pitt demonstrates that very well during one of his execution scenes. Killing Them Softly is director Andrew Dominik’s adaptation of the 1974 novel, Cogan’s Trade by George V. Higgnins. This film is Dominik’s third go-around serving as both writer and director (the other two times being Chopper and The Assassination of Jesse James), and I must say that he seems at home with double the amount of work.
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Well, would you look at that: the sidekicks from previous popular primetime series after each of their shows have ended, banded together to form their own television series. Though it is not uncommon for the supporting cast of a TV show to try to break out on their own either right before or right after their former show receives the axe, it is rare that said show makes it through its first season, let alone gets renewed for a second season; the exception being Men At Work (not to be confused with the film by the same name starring the Sheen family, with which it shares no relation as far as I can tell).
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I remember the exact moment I learned about this film. I was at the movies; it was the first trailer on the film, and I immediately felt my intrigue build. The trailer didn’t give much away; at the time it felt like a disassembled puzzle joined together by multiple voiceovers, and then the question that tied it altogether was asked: “When was the last time you saw Bin Laden?” After that everything became clear, and I had my first inkling of how important this film was going to be. Once I learned that Kathryn Bigelow would be in the driver seat, I was certain of the film’s importance.
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I believe a title change is in order for this movie. For starters, it’s generic and has no appeal; a title should grab you, entice you, and intrigue you. 24 Hour Love does none of that; I understand the title, supposedly time-lining and emphasizing how a single day can alter or destroy the love that exists between two individuals, but after watching the movie, the premise and the title appear to be contradictory. Better titles would have been Love Trials, Unconditional, or my favorite, Commitment. 
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“Don’t let other cars distract you. Take control of your car. Focus on your own lane. 8000rpm, 2km/h. Give it all you got. Steer now. Thinking will only slow you down…If you lose your drive; you are worse off than a broken car.”

Of course none of that quote is spoken in a lick of English in the film. Thank goodness for subtitles; they allow us to enjoy a film despite not knowing the film’s original language, and Motorway is precisely that: an enjoyment.
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How long does it take for an affair to cross over from casual fling to a full-blown commitment? Well according to Oscilloscope Laboratories, about 28 Hotel Rooms. Chris Messina and Marin Ireland pair up to tell an engaging tale of two strangers who begin a long-standing relationship that spans cities, states, and possibly countries; the locations are bit harder to determine given that whenever we see the pair, they are never outside of a hotel. Another interesting factoid is that throughout the entire runtime of the film, neither one of the lead character’s names are mentioned.
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Never underestimate the power of the internet and the sociopathic tendency of college kids; the truest statement I can make about horror flick Smiley. Only college kids would hear a story about a would-be killer who could be summoned by repeating a certain phrase three times (I will not say the phrase simply due to that fact that I am a bit superstitious). Now, what if you knew that cost of summoning this murder was that the person you directed the phrase to would be killed; would you summon him? Well, I’m sure you already know the answer to the question.
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The Love Section is not a very grabbing title if you ask me, but to each his own I suppose. The new film is the latest product coming out of One Village Entertainment; the film does have some things going for it: an absolutely gorgeous leading lady (hubba hubba), a unique pairing of leads, and a very funny supporting character. However, the plot is not swimming in uncharted waters. Ali (Lawrence B. Adisa, Grindin) is a 32-year-old real estate agent and a ladies’ man, bouncing from woman to woman with very little desire for a permanent commitment.
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A mouthful of a title but still quite a unique and clever title, if only the movie was that interesting. Is it just me, or does it seem like a parody film is worthless unless the Wayans family is making it? From Craig Moss, the guy that brought you The 41 year old Virgin Who Knocked up Sarah Marshall and Felt Superbad about it comes another pointless parody with no sense of direction. Parody films reached as far back as the 1940’s with Abbott and Costello;
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