Sony Pictures

Welcome to the neighborhood here in Lakeview Terrace. See that house next door with the zillion watt security lights? Yeah, they’re pointed right at your bedroom window, but that’s just for your own protection. Well, that’s Abel’s house, right there. He’s a cop with the LAPD. Don’t worry about crime around here. Abel performs regular patrols in the neighborhood in his off hours. If you do something against the rules here, like litter, or park somewhere you shouldn’t, don’t worry, Abel will let you know what’s what around here. Abel will keep a close eye on you. Yes, indeed. Welcome to Lakeview Terrace.

When young couple Chris (Wilson) and Lisa (Washington) buy their first home and move into the community of Lakeview Terrace, they are giddy with excitement. They have that first time homeowners feeling, at least until they meet neighborhood big dog, Abel (Jackson). First of all, Jackson doesn’t believe in interracial marriage, which is what the Mattisons happen to be. They’re used to that. Lisa’s father, played by Barney Miller’s Ron Glass, isn’t real high on the idea either. But when Abel starts to meddle in their business, they begin to get concerned. They don’t help matters themselves when they decide to “christen” the pool with a make-out session while Abel’s young son and daughter watch from their bedroom window. Abel’s the self-appointed community enforcer, and he’s decided that the Mattisons have to go. The confrontations continue to escalate, leading to the predictable, because it’s inevitable, conclusion.

I have to admit that I’m usually very wary of direct to video sequels to films that weren’t exactly box office smash material to begin with. The original film was a typical and predictable mess of a film that didn’t even make use of a better than average cast for this kind of film. It took me by surprise when Boogeyman 2 came out, but I’m a glutton for punishment, so I rented the title mostly because it had Saw franchise star Tobin Bell in it. I ended up halfway liking the feature, and considerably more than the original film. When I saw the chance to review the third entry, I wanted to see if the DVD franchise was heading forward or backwards. Boy, was I pleased to find out that the answer is both.

Audrey (Sanderson) is the daughter of Dr. Allen (Bell) from the second film. She’s trying to deal with his death when she happens upon his journal. There she reads about the Boogeyman and his need for people to believe in him, which gives him power. So what does she do? She tries to get people to believe that it was he who killed the victims of the second film. She gets killed in an apparent suicide, but her roommate and best friend Sarah (Cahill) witnesses the event and is the only one to know it was the Boogeyman who killed her. Of course, she also comes across Dr. Allen’s journal and picks up where Audrey left off. As her friends begin disappearing and she has strange visions of the creature, she begins to understand that she is pretty much to blame. By using her spot on the campus radio station to spread the fear, she ends up feeding the beast. She attempts a noble self sacrifice in the end.

Comedy movies can often bring together two or more separate groups of people. This can be groups among the races, culture, and even nations that have been feuding for years. It brings these groups a chance to laugh together, a chance to perhaps look over stereotypes and realize that people aren’t so different at all. You Don’t Mess With the Zohan while not meant to be taken seriously does bring together Israelis and Arabs into one picture. A picture where they can have a good time and hopefully everybody regardless of their race or creed can laugh right along with them.

Zohan Dvir (played by Adam Sandler) is loved in his nation of Israel. He is on vacation in Tel Aviv and is the attraction of every man and woman whether he is showing his Hacky Sack poweress or his bulging biceps. However, Zohan has a very important job, he is the top Mossad agent. His vacation is cut short when Israeli helicopters arrive and whisk away Zohan back to the base.

I’ve spent more than a few hours in the company of Ray Harryhausen over the years. I’ve handled many of the original armatures and have seen the original hand drawn storyboards and conceptual drawings he had created for most of his films. Maybe that’s why I love his films so much. I doubt it. They do speak for themselves and you owe it to yourself to see three of his best pictures, which have been collected here in one set.

 

On the surface it would seem that Linewatch is going to tackle the controversial illegal immigration debate that is going on in the United States these days. At first it seems that’s exactly what’s going on. We meet border patrol officer “Mad Dog” Dixon (Gooding, Jr.) doing patrol in the hotbed of illegal immigration the Southwest. He comes across a group of illegals dead and has a run in with a citizen patrol which acts much like the Minutemen in the media today. The way the film is set up you are expected to believe that this gung ho group of patriots is perhaps responsible for the carnage. It turns out they’re on the war path for the coyote who did kill the group. So, before long we’ve got the makings of a nice relevant story on our hands. Then something goes horribly wrong, both for Mad Dog and for us, the viewers. It turns out that Dixon was once a member of a Los Angeles street gang called The High Noon Gang, or HNG for short. Now the old gang pops up at his home. It appears that Dixon has killed their drug runner, and now their stash is on the wrong side of the border. The gang threatens to kill Dixon’s wife and young daughter if he doesn’t help get the stuff across. Now we no longer have a border story but a typical, done before a million times, gang banger tale. All of the Minutemen setup is used as gunfight fodder, and the issues are explored no further.

 

The very first thing you need to know is that this film has absolutely nothing in common with the 1980 cult classic except for the name. Everyone involved has admitted the fact, so, if you’re looking for an update on an old memory, you really are in for a disappointment. The truth is, even if you aren’t expecting the old story you’re in for a huge letdown. Everything about this film screams mundane, from the killer to the story to the acting. The problem is that the film has no niche. It’s definitely not a slasher or splatter film. You won’t find enough blood to give a fruit fly a transfusion. It’s not a horror film per se. The killer isn’t a supernatural being of any kind. He’s just your run of the mill escaped stalker. The film isn’t very suspenseful, and there isn’t any real mystery here. So, what in the heck is this movie? A mess, that’s what it is.

 

When I was a kid, I loved Archie comics. Before every family road trip (at least once a year), my mom would head to the grocery store and buy up all of the latest issues of everything from Jughead to Little Archie. We amassed quite the collection, and I read those things over and over for years. Recently, in a moment of nostalgia, I bought a new issue. I was excited to see what my old pals the Riverdale gang were up to — boy, was I disappointed. I knew nearly all of the stories! They barely did anything to hide the fact that they were reruns, simply transplanting plots from summer to winter, or changing from basketball to volleyball. What a crock.

Speaking of reruns, you'll recognize Made of Honor as My Best Friend's Wedding with a dash of When Harry Met Sally. I know it's a well-established Hollywood tradition to rehash plots from past successes, but this chick flick was marketed as something fresh. Right. It's a good thing fans of rom-coms don't mind watching the same story over and over. And over.

I've got this great idea for a new show: it's about a group of people stranded on a mysterious island after a plane crash. I'll call it Where Are We? It's gonna be the biggest ratings hit ever for whichever network is lucky enough to lavishly reward my creative genius.

On the other hand, it might seem like a complete ripoff of Lost, a rehash, old news that will never live up to the glory of the original. You know, like Cashmere Mafia, the Lucy Liu vehicle modeled gene-by-gene on HBO's mega-hit Sex and the City. It might only last seven episodes before it's axed. Now on DVD for the first time, Cashmere Mafia: The Complete Series is further proof that the entertainment industry is all out of fresh ideas.

John Leguizamo needs his own kind of wing in some Movie Hall of Fame. I would not say it is a typical wing, but a varied and interesting one nevertheless. He’s done mainstream movies like Ice Age, Moulin Rouge, & the Happening. John has also found himself in roles you just don’t see everyday. He’s been a Clown (Spawn), a Drag Queen (To Wong Foo), and even a Mario Brother (You really think I would fail to mention that John was Luigi in Super Mario Bros?). In The Take, he has a different character to portray. It’s a serious role and requires him to make quite the transformation and bring home an award winning performance.

John plays Felix De La Pena. Felix is an armored car driver, has a wife named Marina (played by Rosie Perez) and has two kids named Rosey & Javy (played by Jessica Steinbaum & Taylor Gray). First detail of logic: Would it not be easier if Rosie’s character was called Rosey & Jessica could have been Marina? Then again, if it was up to me I would have called Rosie the Hispanic Betty Boop. Anyhow, Felix goes to work and while one of his buddies gets out of the car to grab lunch, Adell Baldwin (played by Tyrese Gibson) gets in the cab of the armored car and points a gun into Felix’s face.

Hannibal Lechter is running the show, and even if it is his alter-ego Sir Anthony Hopkins who�s at the wheel of this ride, it could just as easily have been Hannibal the Cannibal pulling the strings. Hopkins is a literal one man show. He wrote, directed, composed the score, and starred in this abysmally horrible film. I wouldn�t be surprised if he pitched in on a couple of coats of paint here and there as well. One man ego driven artistic films are often messy, but Slipstream goes far beyond messy. It�s an impossible film to watch. By the time it was over my head hurt so bad I thought I�d just been beaten over the skull with a two by four for the entire hour and a half. Some will call it art and praise it, either because of the respect Hopkins carries, or because they�re simply too afraid to admit they hated it. If you say you loved this film, you�re lying. The entire running time is nothing but a merciless assault of disconnected images, erratic cuts (as many as dozens in a minute), endless chatter, and an overindulgence of cinematic style over substance. The film makes David Lynch look tame by comparison.

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