Sony Pictures

"I have come to tell you a story..."

Director Phillip Noyce is no stranger to the spy-and-espionage genre. His father was an intelligence officer with the Australian government, and he spent many years of his childhood listening to tales of derring-do. He often recounts in interviews how he would play spy as a young man. He would pick out some stranger he'd see while out and about. For the next several hours he would follow that person, noting their actions, all the while practicing not getting caught. He'll tell you that his nerve got the best of him or he might have very well found himself following in the footsteps of his father. Perhaps someone else would have been making films about his exploits. Instead he gravitated to the next best thing. He decided to make movies about such things. Some of those films like Clear And Present Danger and Patriot Games are solid examples of the genre. Others might not be quite so successful at the box office but are often better than their numbers might indicate. Count Salt in that category. Salt was obviously intended to start a new franchise. The ending doesn't even hide the setup for another film. But the reality is that the movie made only about $118 million on a $110 million budget. $7 million might sound like a lot of money to you or me, but in Hollywood those aren't the kinds of numbers on which solid franchises are built. Too bad, really, because Salt is a pretty entertaining film.

Written by Dave Younger

Young Adam (2003, 98 min.), set in drab postwar Glasgow, Scotland, combines the kitchen-sink dramas of late 50s/early 60s northern England with a Hitchcockian tale – what if you discovered your girlfriend floating dead in a river?  Throw in explicit full-frontal NC-17 sex (most movies, like Blue Valentine, will do anything to avoid this kiss of death, but Young Adam embraces it; they wanted to cut Ewan McGregor’s junk for the American release, but he fought to keep it in) with the sexually-charged characters of Joe (McGregor), Ella (Tilda Swinton), and Cathie (Emily Mortimer), and you have more than enough angry young men and women to overcome the tedium of being one of the working poor in the grimy, coal-infused landscape of the docks of Glasgow.

Written by Diane Tillis

Lake Placid (1999) was a humorous film which played on our fears of animal attacks. It depicted a gigantic man-eating crocodile living in a lake near a rural town in Maine. The idea of crocodiles in Maine was a creative parallel to the alien-invasion scenario. The humans (park rangers, anthropologists, and wildlife experts) had to defeat the murderous alien (giant crocodile) before it destroyed the world (Maine). This concept continued in two direct-to-DVD films, Lake Placid 2 and Lake Placid 3.

"I never wanted a war. I just wanted people to know what happened here. 98 men, women, children ... my husband. And yet no one believed. They rebuilt the town. Life went on. But I was already dead inside. I never wanted a war."

In October 2007 30 Days Of Night was unleashed at the box office to less than stellar numbers. In fact, the film took in only $39 million off of a $30 million budget. That's not usually a good sign for any potential franchise. But the film was received very well by the folks who did like it. I was one of those people. I found myself defending the film to a lot of others who were obviously not so impressed with the take on the vampire legend. The film was about a mythical town in Northern Alaska that experiences 30 days of nightfall each winter. The residents either leave or they dig in for the duration of the month-long darkness. As it turns out, the setup was the perfect situation for vampires, who could feast on the remaining citizens without fear of a rising sun putting a wet blanket on their free-for-all picnic. The film followed a few survivors as they fought back against the creatures of the night. It was based on a cult-favorite graphic novel. It all seemed like a pretty solid idea. But it wasn't the location and month-of-darkness scenario that seemed to turn many horror fans away from the movie. What caused that unfortunate movement was the same thing that I found to be the film's strength.

We all remember the classic underdog film from 1984. Then it was awkward child star Ralph Macchio and Pat Morita in the lead roles. It was a coming-of-age story that taught some valuable lessons about discipline and patience. It was an immediate classic that pulled in a much more than respectable $90 million at the box office. It spawned three sequels which did not do near as well as the original. Now we find ourselves in an age where just about any movie ever made has to be remade/reimagined/rebooted/ or merely capitalized upon. Should there have been a new Karate Kid?

The box office would indicate that the move was a good one. The take was nearly double that of the original film. You also have to remember that 16 years have come and gone and $176 million doesn't buy you what it used to. Still, it's a huge number for a remade film, so I suspect the folks behind the film feel justified. Don't be surprised to see another group of sequels to follow.

This might be a newsflash to some, but I can’t dance. I can’t groove, shimmy or even lay down some dope moves. As such, a whole generation of movies is probably lost on me. In it, young hip kids move around and perform moves that would have made Fred Astaire jealous. It is a showcase of talent on the most basic level. One such movie appeared on my review plate named Stomp the Yard: Homecoming. Hopefully with some fresh moves, we can get an interesting story to boot.

Atlanta, Georgia. A dance competition goes down in the hood and newcomer Chance Harris (played by Collins Pennie) is doing quite well. However, when the chips go down, the local favorite is deemed the winner in a very questionable decision. Later that night, Chance is introduced to a plethora of fist sandwiches at the hands of Jay (played by David Banner) and his band of merry thugs. Chance pleads with them that he will pay them back, just give him some time.

Most people are aware that I don’t care for romantic comedies but nothing gets under my skin more than a horrible prison movie. My attempts to forget the movie are usually successful until the next time a similar movie appears in my review pile. Maybe it is the cliché plot, the contrived and stereo-typed characters, or the male on male forced action. How would a movie fare where it simulates the jail experience in a behavioral experiment? I dare to find out.

Travis (played by Adrien Brody is just another drifter trying to get through life. He works part-time at the retirement home until the state cuts back and lays him off. As he considers his options, he attends a peace protest where he meets a rather attractive girl named Bay (played by Maggie Grace) who is also demonstrating. Bay wants to go to India for spiritual enlightenment and wants Travis to join her. Travis however needs some money to make the journey.

Most of the male reviewers in this industry loathe romantic comedies. It is the only thing in the industry that we conceive to be as easy to make as a poorly written horror movie. Insert female who is looking for love in all of the wrong places and give her an unique situation to find that special love. Insert hunky guy who is a bit quirky to sweep her off her feet. Love, love, love and they go off to get married and make babies. So I did what any man would do in this situation, I begged my better half to write the review.

And hello there! It is I... the usual reviewers “back-up plan” to getting out of having to do a mushy movie! I am not the average female that goes oogly over these romantic comedies. I find them to be unrealistic, predictable, and boring. The plot is always the same. Woman who cant find love, finds it in some odd situation... someone is not truthful about something, they fight, and split up... after a short time apart, they decide to make nice and have woosa time. End of movie. Is this movie any different? Can they really break the cycle of really bad romantic comedies?

It's almost impossible not to compare The Square with No Country For Old Men. The themes are very much the same. The talent behind this Australian movie even includes a couple of brothers, but their name doesn't happen to be Cohen; however, one of these brothers is also named Joel. One of the original writers on the film is Joel Edgerton. The idea passed through a couple of other folks along the way to director Nash Edgerton who saw more potential in the film. So, a modest budget and a collection of relatively unknown actors combined to create a movie that does not easily fall into any one category, another trait these brothers share with the more famous pair.

Carla (van der Boom) is having a rather intense affair with Ray (Roberts). They both want out of their own marriages for different reasons but lack the proper funds to make their respective clean breaks. Carla is married to Smithy (Hayes) a small-time crook with a domestic violent streak. Ray is married to Martha (Bell) who he simply doesn't have much passion for. He feels his life has settled into an emotionless rut. Ray is a foreman for a contract business and has been taking kickbacks from his subcontractors in a bid to stash away enough money to run away with Carla. It's a slow business, and Carla is getting impatient, starting to wonder if he really wants to be with her. It all appears hopeless, that is until Carla returns home from a rendezvous with Ray to find Smithy stashing a large bag of cash into their attic crawlspace. It's a ton of money, more than enough to finance her escape with Ray. She tries to convince Ray that they should steal the cash and go. Ray is concerned that such a big score for a normally two-bit crook means others are involved. He suspects they won't take very kindly to having their money taken, and the two lovers would have to live in constant fear of being discovered. So they come up with a plan to steal the money and hire someone to torch the house, making Smithy and his pals think the money was consumed in the fire. Ray's a bit gun-shy about the idea, but Carla can be quite persuasive.

For most of you who read my reviews, I can be rather harsh when reviewing movies of a Christian nature. One needs to look no further than my scathing review of Fireproof. More than often they tend to be too preachy with messages and heavy themes that suggest a way of life too strict for many people’s tastes. Naturally, I was a little skeptical when I received To Save a Life. But as the movie teaches us: one should not be judged on appearances alone.

Today is the funeral of Roger Dawson (played by Robert Bailey Jr) who committed suicide at the tender age of seventeen. We see many people in attendance including one other fellow high school student named Jake Taylor (played by Randy Wayne). As it turns out, we are treated to a flashback that shows Jake and Roger as best friends growing up.