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Campy blood & horror movies have always been a sore spot for me. I’m not talking about funny horror films with character like Shaun of the Dead. I’m talking about those movies that have a high amount of gore and little story to back it up. A movie that is played up for lack of acting and focuses more on how gruesome they make the average murder. Troma films immediately come to mind. However, there are times films that from their campy behavior create a story and scenes that are bearable to watch and a good ride on the couch. Perhaps we have found such a film in Botched a 2007 film directed by Kit Ryan. Just as long as it doesn’t turn into another Tripper, I think we will be alright.

Poor ol’ Ritchie Donovan (played by Stephen Dorff). This thieving gig he has is bringing him so much bad luck. After a diamond robbery goes awry, he is sent to Moscow to steal a rare antique cross locked away in an office building. He is given two companions: Yuri (played by Russell Smith) & Peter (played by Jamie Foreman) who are brothers but appear to be heavily in experienced in the ways of crime. They get to the penthouse as planned and make the heist. However, in the process Yuri goes off script and things start to go horribly wrong. A murder ends up at his feet as they head to the elevator to escape the scene of the crime. Once inside the elevator, things only become worse.

Welcome to Gino’s school of film art. Today I’m going to teach you how to make a modern art film. You know the kind. The type of film that no one really likes, but a lot of folks pretend to like because they think it makes them look cool. Just think how cool you’ll look when you can make one of those pretentious pieces of crap and watch phony critics go on and on about how brilliant it was. Meanwhile you laugh your behind off and cash in on the phony baloney. You might even grab yourself a film festival award, which along with $5 will get you a coffee at Starbucks. Follow these quick and easy steps and pretty soon you’ll be the talk of the town… Tinsel Town, that is. Movie stars. Swimming pools.

 

It should not have come as such a surprise to me what Stop-Loss really is. It presents itself as this generation’s Deer Hunter, but it’s actually just another mindless film that, once stripped down to its essentials, is intended only to further a blatant political agenda. I keep hearing that the film is intended to honor our troops, but it presents all of them as mentally messed up idiots who are a hair away from committing crime sprees akin to Natural Born Killers. The aforementioned Deer Hunter also offered up a bleak image of the mental health of vets returning from war, but centered on a particular case. I have no doubt that war affects everyone who participates, but I’ve known returning soldiers who did manage to cope.

 

According to Wikipedia, Bruges is the capital of Belgium and home to the college of Europe. Much of the architecture from the 12th and 13th centuries is in good shape and preserved fairly well. The Church of Our Lady is one of the tallest brick buildings in the world. The Basilica of the Holy Blood purports to be a church that houses some blood from Christ. It also serves as the backdrop for a couple of hitmen who have to find comfort in the town for awhile in the film set in Bruges, called In Bruges.

The film was written and directed by Martin McDonagh, whose previous work was in the Oscar-winning short film Shooter. Ray (Colin Farrell, The Recruit) and Ken (Brendan Gleeson, Kingdom of Heaven) are forced to stay in the town for two weeks, after an assassination assignment given to Ray turns particularly brutal. The two look at this presumed exile in two different ways; Ray thinks of it as purgatory; he loves the lifestyle of London and access to anything he wishes. Ken rather enjoys it. He views it as an opportunity to enjoy a place he’s never been before. The nuances of Bruges are also memorable; aside from a little person in a movie and a drug dealing local named Chloe (Clemence Poesy, Harry Potter and the Goblet of Fire), the film is chock full of hilarity and hijinks. When Ken and Ray’s boss Harry (Ralph Fiennes, Schindler’s List) comes to meet with the boys, things take a bit of a dramatic turn.

To be bloody honest, I was never a huge fan of Speed Racer. Actually I spent most half hours watching the cartoon (in college) poking fun at it and wondering how many drinking games could be compiled by just analyzing various components. It was a serious cartoon with some brief comedic relief that did not come off as funny, what was funny was all of the seriousness of driving the Mach 5 and figuring out who this Racer X character was (it was Speed's Older Brother, sorry if I spoiled it). Anyhow, it's 2008. Speed Racer has experienced a resurgence including a movie and a new cartoon series. The movie hasn't done very well but many times the cartoon can be the saving grace. It was supposed to follow a new Speed, with a mysterious past. Ooooo, well as long as no Chim-Chim or Spritle is around, we'll be okay.

In the not too distant future, a hopeful racer who goes by the name of Speed wants to attend the Racer Academy founded by the original Racer bunch. However he knows nothing of his past and finds that his name & lack of friends is a source of much teasing and criticism as he tries to ascend to the top of his class. There are other major players such as Headmaster Spritle (he grew up? I thought he would have gotten run over by the Mach 5 by now), X who is Speed Racer's son and X's girlfriend Annalise, both of which try to thwart the young Speed. Annalise's father, Zile Zazic is the main funder for the school and serves as the evil mastermind and antagonist to Speedy.

The movies of National Lampoon haven't always had the best track record. On on the good side, we have Christmas Vacation, Van Wilder or European Vacation (Chevy Chase is gold after all). On the bad side we have movies like Senior Trip, Dorm Daze, or Dorm Daze 2 (Wretchedness has sequels?) But every once in a while, you can take a bad movie and suddenly realize that you are holding something that is worse than any National Lampoon movie to date (I don't care what anybody says but Loaded Weapon wasn't half bad). A movie so bad, that even Jonathan Winters or Diedrich Bader could not save it.

Richie (played by Thomas Ian Nicholas) doesn't have the greatest luck in love. His best friend, Sherman (played by Andrew Katos) wants to bed as many chicks as possible regardless of the fallout that might occur. They hatch an idea that involves taking discarded casting call pictures and actually having their own casting call to find their perfect soulmate (or in Sherman's case, just a hot chick or several). However, they have to impersonate having a real film in place before they get any real girls to fall to their claim. They also need an office and resources. They decide to include their friend Glenn (played by Diedrich Bader) who has the office space and resources to make it happen.

It’s not that these fantasy-epic films that feature a young child in the starring roles bore me, it goes to the larger notion that Hollywood will remake every child’s fantasy novel into some sort of cinematic product, so a buck or two can be made. For every Harry Potter, there’s a Golden Compass or even Spiderwick Chronicles. The well is rapidly running dry, and you needn’t look much further than The Seeker: The Dark is Rising, a film about a young lonely boy who finds himself in circumstances and an adventure beyond what he might initially suspect. Wait, doesn’t that sound like EVERY children’s movie lately?

The novel was written by Susan Cooper and edited by John Hodge, who did Trainspotting, of all films, and was directed by David Cunningham (To End All Wars). In this, Will (Alexander Ludwig, Race to Witch Mountain) plays the youngest in a family of six Americans who have moved to London for their father’s job. He soon finds out about his real roots, continuing a lineage of warriors, protected by the old ones in Miss Greythorne (Frances Conroy, Six Feet Under) and Merriman Lyon (Ian McShane, Deadwood). No other performers from HBO television series were involved in the making of the production.

When The Ruins opens, it doesn’t look quite so promising. We’ve got two American couples sharing a vacation in Mexico. They’re reaching the end of their stay and are getting a tad bored with the sun and surf. Enter the foreign stranger who happens to have access to a secret archeological dig and invites the foursome along. Immediately I begin to suspect I’ve seen it all before. I figure the guy’s going to lead them to some isolated torture garden where sadistic maniacs will have their way with the tourists. As the stranger leads them further and further into the isolated jungles, my suspicions are getting that much stronger. When they arrive to find a Mayan pyramid, I’m starting to think that this just might be something different, after all. The group is greeted by some locals who don’t exactly roll out the welcome wagon. They kill the “red shirt” in the group, who we never really got to meet, and herd the group up to the plateau atop the temple. The locals surround the structure and appear unwilling to allow them to leave. At the top they discover the stranger’s brother, who was the one working the site, dead. They discover a shaft that goes deep into the heart of the structure, where they hear what sounds like a cell phone ringing. Attempts to reach the phone don’t go very well, and before long two of them are wounded. That’s when the fun starts. The vine is attracted to the blood and begins to invade the wounds. Before long it becomes clear that the locals weren’t herding them to attack them, but to quarantine them because they had touched the vine. The film allows for some clever moments as the survivors contend with the ancient creature.

 

I don’t know what it is about Owen Wilson, but whatever film he’s in he seems to be playing himself. The soft-spoken, rather glib personality has taken him places over the years, but you have to ask yourself if he’s ever going to actually take any risks. Drillbit Taylor is no more a stretch for the actor than any of these other roles. What that means for us, the viewers, is that we’re sure to get a solid and quite believable performance. We know that we’ll end up warming to Wilson’s character in spite of the various flaws we are apt to discover along the way. If Wilson does anything well, it’s redemption. You get the impression that a lot of Wilson’s lines are his own. Whether this is simply a case of a writer having great feel for his star or Wilson changing things up is anyone’s guess, but I’d put my money down on the latter.

 

If you read my recent review of Bender's Big Score, you'll know I wasn't exactly thrilled by Futurama's first dvd movie. But like many things (such as relationships and less than average presidents), you always want to give it a second chance. Bender, Fry, Leela & others are fantastic characters and perhaps with the first film, they just had a bump in the road. We, as viewers know they can do better. They just have to steer clear of disgusting & annoying villains as well as confusing plots. Let's hope that it holds together for the solid ninety minutes and see what pans out.

After the paradox correction of a million Benders creates a rip in the fabric of space, life has tried to return to normal. Fry is in a new relationship with a girl named Colleen. Amy and Kif (Zapp Brannigan's side kick) get married. In a very funny bit, "Deathball" is used to win the right of exploring the anomaly. Upon reaching the rip in space, the Planet Express crew sends Bender out to investigate the situation. However, they quickly realize that electrical beings such as robots get zapped when trying to touch the anomaly but living beings are unaffected and can pass through.