Following in the footsteps of Taken Gina Carano (Haywire) goes on a revenge rampage in order to discover what has happened to her injured and missing husband in a foreign land.  It’s not the most original jumping off point for a revenge film, but as is the case with most revenge films, the motivation is usually always the same, but it’s the journey to the fulfillment of their blood-lust that keeps us in our seats.  Coming off of the latest installment in the Fast and the Furious series, Carano has started to make a name for herself ever since she emerged in Steven Soderbergh’s action/thriller Haywire.  Many women have tried to step in the role of leading lady and bad-ass fighter, but Gina Carano seems to be the woman who seems right at home in the role of breaking bones and smashing faces, and it doesn’t hurt that she looks good while doing it.

On an island in the Carribean, Ava (Carano) and her new husband Derek (Cam Gigandet) celebrate their honeymoon together.  The beautiful beach locations are offset by the ghettos that house the islanders who call this vacation spot home.  And it would seem as though Manny (Ismael Cruz Cordova), is nothing more than a hospitable islander showing the newlyweds a good time, that is until he takes them on a breathtaking zip line tour.  Unfortunately an accident occurs, causing Derek to be taken immediately to the hospital (all I could think about was the opening sequence of Cliffhanger here), and it is on the way to the ER as Ava tries to follow behind but eventually loses the ambulance in traffic.  Not only does Ava have to suffer through the possibility of her husband dying, but when she finally arrives to the hospital, she is told her husband never was brought in.

Before getting this season to review, my exposure to the show was fairly limited; I had seen a few episodes on Comedy Central, but that was about it.  Now that I’ve had a chance to kick back and take in the shenanigans of Blake (Blake Anderson), Adam (Adam DeVine) and Anders (Anders Holm) I can say it was a disservice to myself to hold out for so long.  For those that are unaware of the show, I see it as a bit of a hybrid between It’s Always Sunny in Philadelphia and Office Space, as it follows three friends who live together and work together at a telemarketing company. Thankfully this is a show that doesn’t require seeing the previous seasons and can be picked up and watched at any point.

Picking a favorite episode is an easy one for me; not that the other episodes are not funny, but “Beer Heist” is a solid standalone episode that brings a smile to my face just thinking about it.  The guys run into a group of sorority girls who are on a beer run. The guys concoct a plan to impress them, and it involves hopping in the back of a semi-truck to steal beer.  Their plan quickly unravels as the truck takes off with Blake and Adam still in the truck.  As their troubles escalate, the rationale a character uses to explain why his friend doesn’t understand their actions because he’s simply not horny enough is just the right kind of explanation for this show.

Long before Clint Eastwood was making our day as Dirty Harry or even roaming the badlands without a name for Sergio Leone, he was working the cattle drive on Rawhide. Rawhide was created to take advantage of the huge Western film and television wave that Hollywood had been riding for nearly a decade. With huge ratings for Gunsmoke and Bonanza among others, Rawhide was a bit of an unlikely success. Here the show explored the West on an endless cattle drive to get a few thousand steer to market. Along the way the crew would find themselves involved in someone else’s troubles or meet trouble head on themselves. The cattle drive theme would rely on the changing landscape to distinguish the show from other more sedentary westerns. More like Wagon Train, the constant movement always gave a sense of action even when there wasn’t much. Of course, there was a large number of changing support players along on the drive. Every operation needs cooks, ropers, and red-shirts.

A very young Clint Eastwood played Rowdy Yates. Unlike any cowboy you ever saw, Rowdy had slicked-up hair and looked more like a biker than a cowhand. He was the greenhorn in the bunch, usually finding each experience a learning opportunity. He had an almost naïve charm that made him popular. The original cast featured Eric Fleming as Gil, the trail boss. The third main character was Pete Nolan, played by Sheb Wooley. Sheb formed a good relationship with Eastwood that would be rewarded years later when Eastwood created a role for him in The Outlaw Josey Wales. I didn’t really watch the show even in its limited syndication run, so knew most of it by reputation only. Of course, I knew the Frankie Laine theme that has been used for everything from selling cars to western spoofs. The tune was also a moderate radio and record hit in the day.

I don't know why death still surprises me.”

As someone who's seen every single episode of True Blood, I suppose nothing should surprise me by now. HBO's vampire drama has given us more than its share of head-turning sex scenes and a hearty helping of over-the-top violence. However, the further the series ventured from Bon Temps and its core group of characters, the more it seemed to lose its way, even as a satisfying guilty pleasure. This penultimate season still relied on an overly-crowded cast of supernaturals. But it was ultimately an encouraging sign that the show might get back to basics as it prepares to end its run this summer.

What makes us human? That is the primary theme of Robocop, the remake of the 1987 film of the same name. The 1987 film was a huge blockbuster success, spawning two sequels, and no doubt that is the hope for the remake at the very least. Joel Kinnaman steps into the suit made famous by Peter Weller, and he is not the only big name to grace the film: Michael Keaton, Samuel L. Jackson, Abbie Cornish, and Jackie Earle Haley, as well as the great Gary Oldman playing the doctor who made Robocop possible: with such a top-notch cast, how could the project fail?

Deviating from the original plot a bit, Omnicorp is the largest manufacturer of cybernetic organisms and has made billions supplying their devices to the government, which has used the machines to reduce our human military presence overseas, believing that the use of machines makes the process more efficient and prevents the loss of life due to human error. Omnicorp CEO Raymond Sellars (Michael Keaton) aspires to have his product used domestically, taking over for humans as the guardians on the police force.

When Stephen Chow came out with Shaolin Soccer and Kung Fu Hustle he delivered martial arts in a way like we never had seen before.  It’s not just that he blended humor with his action but it was that he was able to manage to make his characters function as you would imagine cartoon characters would in the real world.  The road runneresque chase scenes from Kung Fu Hustle are the first visuals that come to mind any time I think of the name Stephen Chow.  Now that he has Journey to the West making its way to Blu-ray, does he still have what it takes to make a hit or has he simply returned to the well already?

The film starts off strong as a father is attacked by some unseen monster while his daughter looks on from a dock.  As panic strikes the village a “demon hunter” captures a giant sting ray that he believes is the culprit behind the fisherman’s death.  Sanzang (Zhang Wen) seems to believe that there is yet another demon responsible for the death, yet to the village refuses to take Sanzangs advice and it is a mistake that will result in the loss of more lives and destruction.  This opening goes on perhaps a bit long but it sure is fun and is filled with some beautifully choreographed stunt work as well as some inventive camera work.

The tagline for Beyond the Trophy definitively states that “Power is the only thing that matters.” Well, having watched this low-budget cops and kingpins crime drama, I humbly disagree. The film strives to tell a story about the violent perils of all-consuming power. Unfortunately, Beyond the Trophy forgot to include some of the stuff that matters to movie-watchers: things like “focused storytelling”, “coherent action sequences”, and “fresh characters.”

The film opens “somewhere in the Caribbean” where a hitman catches up to lounging, unsuspecting Danny (Michael Masini). The action then flashes back seven months to show us how Danny ended up with a gun pointed at him on a tropical beach.

With the clock ticking till the release of Batman vs. Superman, Warner Bros needs to do all it can to get the fans on board for the arrival of the the Justice League.  When it comes to the handling of the DC universe, though fans may be divided on the films, it seems just about everyone will agree the animation is about as good as it gets when it comes to comic adaptations.  In the case of the Justice League perhaps the only way to get it right is through animation, considering there seems to always be something massive going on that it would seem nearly impossible to translate in a live-action setting.

The Legion of Doom, headed by Lex Luthor, has managed to reach the Arctic Circle, where Lex sets in motion one of his most fiendish plans, to absorb water from around the globe, increasing the shorelines to which he has previously purchased the land.  The Justice League arrives just in time, and in the process of their fight, Lex is trapped in a block of ice where he is thought to have perished.

With the exception of Blazing Saddles and City Slickers, it’s not easy to come up with a successful western/comedy.  But leave to Seth MacFarlane to venture into this territory with his irreverent humor in tow as he looks to beat the odds and make a successful western with his new film A Million Ways to Die in the West.  Following the success of Ted, I was looking forward to seeing what MacFarlane would do next; after all, I feel he’s the comedian who speaks to my generation better than anyone else out there.  As one of the comedy greats of the time, I had little doubt about his ability to write and direct another hit, but where my concern mainly fell is on how he would fare as the leading man.

When we first meet Albert (MacFarlane), he’s running late for a duel with a gunslinger to whom he is in debt.  He’s no match for the gunslinger, and he does his best to beg and wisecrack his way out of the duel to the town’s disappointment.  With a minor reprieve and an even more minor gunshot wound, Albert is sent on his way.  Unfortunately Albert’s good fortune doesn’t last long once Louise (Amanda Seyfried) dumps him so she can “work on herself”.

If Christopher Nolan’s take on The Joker isn’t the very best example of modern cinematic villainy, then it’s near the top of the list. Obviously, a tremendous amount of credit goes to Heath Ledger’s Oscar-winning performance in The Dark Knight, but I’d argue the real thrill comes from the character’s arbitrary, inexplicable approach to evil. By having its Joker invent tragic (fake) backstories on the spot, the film made a mockery out of the notion of having to explain a movie monster’s past. Disney’s Maleficent, on the other hand, is the latest misguided attempt to redeem a character who was better off being unredeemable.

"Let us tell an old story anew and see how well you know it."