Gangster Land


This is how you vogue, gangster-style.

(2017) Gangster (Cinedigm) Sean Faris, Milo Gibson, Jason Patric, Jamie-Lynn Sigler, Peter Facinelli, Mark Rolston, Michael Paré Sean Kanan, Al Sapienza, Don Harvey, Jason Brooks, Veronica Parks, Mark Krenik, Ronnie Kerr, Ryan Kiser, Danny Hansen, Joe Coffey, Shane P. Allen, Louis Fasanaro, Devin Reeve, Drake Andrew, James Bartz, Alan Donnes, Jody Barton, Kevin Donovan, Grace Fae. Directed by Timothy Woodward Jr

 

We Americans have always had a fascination with criminals. We have tended to idolize them and mythologize them, from Jesse James on down to Charlie Manson. We have a particular fondness for the gangsters of the Depression era; even though they were vicious, brutal men we can only help admire their brazen outlook as they lived life on their own terms – and often died by them.

This film is a fictionalized account of the rise of Al Capone (Gibson) as seen through the eyes of his top lieutenant “Machine Gun” Jack McGurn (Faris) who despite his name was actually of Italian descent; he changed it when he went into boxing because he could get more bouts as an Irishman than he could as an Italian. After the murder of his stepfather by a rival Italian gang, he decides to throw his lot in with Capone who had seen McGurn box and was an admirer.

At first McGurn is just hired muscle for the Italian gang under Johnny Torrio (Sapienza) but he rises through the ranks with his friend Al and when Torrio is killed, Capone takes control and begins a ruthless war with the Irish gang of the Northside for control of Chicago. The Northside Irish gang is led by Dion O’Bannon (Rolston) and after O’Bannon is murdered, George “Bugs” Moran (Facinelli). He meets and falls in love with dancer Lulu Rolfe (Sigler) who is unimpressed at first – McGurn doesn’t have much cash and never thought much about dressing stylishly. However he wins her over and she is okay with his lifestyle as a mobster. Now known as “Machine Gun Jack” for his preferred weapon for murder, the war between the two vicious gangs quickly and decisively escalates culminating in an infamous massacre on St. Valentine’s Day that will change Chicago forever.

There is a B-movie gangster vibe here that recalls some of the great movies of that era, of James Cagney, Edward G. Robinson and George Raft only with graphic violence and plenty of foul language. Cinematographer Pablo Diez uses interplay between bright colors and dark shadows to give the film a kind of updated noir aspect that I found interesting. While most noir feels more natural in a black and white atmosphere, Gangster Land gave the color a very noir-ish feel which is quite the accomplishment from where I’m sitting.

There is a bit of an amateurish feel to the movie that negates a lot of the good stuff. The dialogue feels wooden and unnatural and the lines are delivered in a ham-fisted and over-the-top manner that considering the caliber of some of the actors involved is a bit baffling. It’s like they’re channeling a community theater troupe at times and that feeling is a bit disonncerting.

This won’t compare well to the better film of the genre like The Untouchables for example but it’s rip-roaring entertainment in any event. This is, to my way of thinking, more George Raft than Jimmy Cagney. Those of you who love the gangster movies of the 30s and 40s will find this right up your alley particularly if your alley is dark, foggy and filled with shadowy men in fedoras and overcoats furtively carrying Tommy guns.

REASONS TO GO: The cinematography makes good use of light, shadow and color. Think of this as a nod to B movies with modern sensibilities.
REASONS TO STAY: The dialogue is well over-the-top and sounds a bit wrong-headed at times. There is a lot of scenery chewing going on.
FAMILY VALUES: There’s violence, gore, profanity and some sexuality.
TRIVIAL PURSUIT: McGurn eventually became a pro golfer. He was assassinated in a bowling alley in 1936, a day after the seventh anniversary of the St. Valentine’s Day Massacre.
CRITICAL MASS: As of 11/29/17: Rotten Tomatoes: No reviews yet. Metacritic: No reviews yet.
COMPARISON SHOPPING: Public Enemies
FINAL RATING: 6/10
NEXT:
Shadowman

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The Twilight Saga: Breaking Dawn – Part 2


Robert Pattinson and Kristen Stewart eavesdrop on their accountants discussing future earnings.

Robert Pattinson and Kristen Stewart eavesdrop on their accountants discussing future earnings.

(2012) Romance (Summit) Kristen Stewart, Robert Pattinson, Taylor Lautner, Peter Facinelli, Elizabeth Reaser, Ashley Greene, Jackson Rathbone, Kellan Lutz, Nikki Reed, Billy Burke, Chaske Spencer, Mackenzie Foy, Michael Sheen, Maggie Grace, Jamie Campbell Bower, Christopher Heyerdahl, Lateef Crowder, Lee Pace, Omar Metwally, Dakota Fanning. Directed by Bill Condon

Our Film Library 2015

All things come to an end – even the Earth one day will flicker out of existence, the victim of our sun’s own demise. For fans of the Twilight Saga, the approach of the final movie in the franchise was met with a bittersweet mixture of anticipation and sadness, knowing that once the movie was viewed that the series would be done forever and yet looking forward to seeing the climactic chapters in the book come to life.

Following the conversion of Bella Swan (Stewart) to vampirism by her new husband Edward Cullen (Pattinson) in order to save Bella’s life while giving birth to their new daughter Renesmee (Foy and ten other actresses not to mention CGI babies) life has resumed normalcy in the vampire household of the Cullens but it won’t stay that way for long. The vampire ruling class, the Morituri, have been informed of Renesmee’s birth and have decided that the child is an abomination that will never age, will become exceedingly powerful and dangerous and must be destroyed. They don’t like her name much, either. Then again, nobody does.

So leader Aro (Sheen) and an army of vampires from throughout the world come to Forks to do battle. Meanwhile, werewolf Jacob (Lautner) has been imprinted upon by baby Renesmee, which means that the two are destined to be lovers which is kind of creepy when you think about it. The feud between Jacob and Edward is more or less resolved, although neither Bella nor Edward are all that keen on having a werewolf as a future son-in-law. However, with Jacob imprinted by the vampire Jacob’s wolf clan reluctantly agrees to aid clan Cullen in the coming fight, which they know about because Alice Cullen (Greene) is, as everyone knows, psychic. Convenient, that is.

Anyway, it’s all going to culminate in one big battle in the snow with vampires and werewolves alike getting their heads torn off like so many cheap action figures. Bella, however, is now one mother of a badass and no longer needs to be the weakling relying on the protection of Edward and his family. Can the Cullens defeat the numerically superior Morituri clan or will the Morituri succeed in destroying the Cullens and the new baby once and for all?

Well, I’m sure you can figure out the answer to that one even if you aren’t familiar with the series. I have to admit that I actually enjoyed the first movie in the series but they’ve gotten progressively worse as the series has gone along. The fifth and final cinematic opus in the saga is unfortunately the very worst of the lot.

The cast is as a whole excruciating to watch. Even eminently watchable actors like Sheen and Dakota Fanning overact so shamelessly that the union might have considered revoking their membership. Worse still are the special effects, which for a movie with a $75 million production budget are unforgivably bad. More on that in a minute.

Despite their poor performances, I do feel for the cast because quite frankly, there are no actors good enough to elevate the script which contains dialogue that doesn’t sound like real people talking. Mostly you get the sense that the producers wanted the cast members (particularly the main characters) to look cool to the tween audience and their moms that make up the core of the Twihard nation. Tweens and moms are generally not the most trustworthy arbiters when it comes to cool.

Even so, I can even feel for the screenwriter because the little of the Twilight books I’ve read have been uniformly poorly written. They are a soap opera on a page, a lily white telenovela that shamelessly pushes buttons but doesn’t have the grace of self-awareness. Everything that happens in this movie lands with a mind-numbing dull thud.

I will say this, however. The movies have as rabid a fanbase as any in the history of books and movies. Those who love this franchise do so with all of their heart and soul and their loyalty is kind of touching. They don’t care whether the books are great literature. They don’t care that Pattinson and Stewart are spouting dialogue that sounds like it was written by an alien who has never spoken with an actual human being ever. They don’t care if the CGI wolves move like wolves, or if the decapitations look realistic, or if the wire work of the actors is graceful.

None of that matters to them. What they care about is the fantasy that the love story gives them, and it certainly appeals to the target audience without question. One thing you can say about author Stephanie Meyer – she truly understands what the audience she’s writing for wants and gives it to them. Many authors would kill for that kind of knack and I can’t really condemn her for doing what many writers dream of doing – connecting to her audience in a meaningful way.

I really can’t recommend the movie to general audiences, but that’s okay. This is a movie made for a specific niche audience and at the end of the day, it serves them well. I look at the Twilight series much the same way I look at rap; it’s not written for me, I was never meant to relate to it and it’s okay if someone else relates to it and it’s certainly not a bad thing. At the end of the day, it’s a good thing to feel a strong connection to something, whether it be to a book, a rap song, or a movie. Saying merely that something sucks is to not only to judge the book/song/movie in question but also the person who connects with it deeply and doing so betrays a certain amount of arrogance. Certainly I can be critical of the cinematic missteps that I found here in the movie and I have to be true to myself when I say I can’t encourage anyone who isn’t a fan of the series already to go see it. That doesn’t mean that I hate this movie or what it represents; clearly there are people who are truly inspired by the Twilight books and films. Even if I don’t share that connection, I can’t deny that it exists nor can I entirely say that the series is unsuccessful because clearly it has not only made the filmmakers and the author a whole lot of money but a whole lot of fans as well and who am I to object to that?

WHY RENT THIS: Twihards will want to see this again and again.
WHY RENT SOMETHING ELSE: Horrible special effects, bad acting, worse writing and a sense that the studio just punched this out without support or care in order to make as much money as possible.
FAMILY VALUES: Violent battle sequences, some disturbing images, a little sensuality and brief nudity.
TRIVIAL PURSUIT: Had the highest budget of any of the films in the series, and also was the only film in the series that had a complete opening credits sequence.
NOTABLE HOME VIDEO EXTRAS: The Blu-Ray contains a feature that allows you to jump to either Edward or Jacob-centric scenes. The making of feature is surprisingly good and Condon proves to be an interesting subject as he talks about the pressures of meeting fan expectations and staying true to the book while remaining cinematically viable. It’s really a lot better than most of these. There’s also an interesting featurette on the logistical issues that came from shooting two movies simultaneously.
BOX OFFICE PERFORMANCE: $829.7M on a $75M production budget.
SITES TO SEE: Netflix (DVD/Blu-Ray rental), Amazon (buy/rent), Vudu (buy/rent),  iTunes (buy/rent), Flixster (purchase only), Target Ticket (not available)
COMPARISON SHOPPING: Romeo + Juliet
FINAL RATING: 3/10
NEXT: Our Film Library concludes!

Loosies


A ridiculously handsome man.

A ridiculously handsome man.

(2011) Dramedy (IFC) Peter Facinelli, Jaimie Alexander, Michael Madsen, Vincent Gallo, William Forsythe, Marianne Leone, Christy Carlson Romano, Joe Pantoliano, Eric Phillips, Tom DeNucci, Tom Paolino, Ara Boghigian, Anthony Paolucci, Glenn Ciano, Johnny Cicco, Stella Schnabel, Peter Berkot, Anne Mulhall, Sera Verde, Rebecca Forsythe. Directed by Michael Corrente

Sometimes people do the right things for all the wrong reasons. Just as often, people sometimes do the wrong things for the best of reasons. At the end of the day, it doesn’t really matter why you do things, just that you did them.

Bobby (Facinelli) is a handsome, charming kind of guy. He walks around New York in a suit all day, letting all and sundry know that he works on Wall Street as a broker. Actually, Bobby is a pickpocket and a damned good one. He snatches watches, cash, cell phones, the occasional police badge – whatever he can get his slick fingers on.

But things are changing in his life. Lucy (Alexander), the pretty and spunky bartender at his favorite tavern, is pregnant – and Bobby’s the baby daddy. What had been a one night stand turned into a life changing event. Bobby, at his core a decent sort of fellow, wants to do the right thing. He wants to marry Lucy and settle down into being a good husband, father and provider.

That’s not going to be easy. Bobby owes Jax (Gallo) a fairly hefty debt, the legacy of his gambling-addicted father and is struggling to pay it off. Lt. Nick Sullivan (Madsen), the cop whose badge Bobby stole, is absolutely pissed off about it and is pursuing Bobby with the ferocity and tenacity of a pit bull on meth. His mom Rita (Leone) has a new boyfriend, the jeweler Carl (Pantoliano) who has been known to exchange punches with Bobby. And Lucy doesn’t want to be the wife of a lowlife, nor her child to be raised by one.

This is meant to be a star-making vehicle for Facinelli who has labored in the shadows for much of his career. An engaging lead with star potential, he has been relegated mainly to supporting roles although when he’s gotten the opportunity to shine (as on the too-brief TV series Damages) he has generally made the most of it and he does so here.

Bobby is a thoroughly likable rapscallion and while his choice aren’t the best, they are generally the lesser of two or more evils. Facinelli imbues the character with a general charm, ensuring the audience will like the schlub even though they know he’s doing things that are less than kosher. Facinelli and Alexander make a believable couple; there are a lot of bumps in the road for their characters but one never doubts the genuine affection.

While this is a bit of a mash-up between a crime caper and a romantic comedy, I don’t really see anything fresh here from either genre. It’s a bit paint-by-numbers in a sense  that is elevated by the performance of its cast. Facinelli is engaging enough performer that you’ll want to spend an hour and a half with him without checking your watch. These days, that’s kind of a plus.

WHY RENT THIS: Facinelli is likable. Good chemistry with Alexander.

WHY RENT SOMETHING ELSE: Doesn’t really offer up anything new.

FAMILY VALUES: There’s a bit of violence, some sexual content and some rough language.

TRIVIAL PURSUIT: The husband of Nikki Reed, who co-starred with Facinelli on the Twilight series, contributes three songs on the soundtrack with his band Grand Magnolias (his name is Paul McDonald of American Idol fame).

NOTABLE DVD EXTRAS: None listed.

BOX OFFICE PERFORMANCE: $3,519 on an unreported production budget.

COMPARISON SHOPPING: New York, I Love You

FINAL RATING: 6/10

NEXT: X2

The Twilight Saga: Breaking Dawn Part 1


Be still my heart.

Be still my heart.

(2011) Romantic Fantasy (Summit) Kristin Stewart, Robert Pattinson, Taylor Lautner, Peter Facinelli, Ashley Greene, Kellan Lutz, Jackson Rathbone, Elizabeth Reaser, Nikki Reed, Billy Burke, Rami Malek, Maggie Grace, Mackenzie Foy, Dakota Fanning, Lee Pace, Anna Kendrick, Michael Sheen, Christopher Heyerdahl, Booboo Stewart, Daniel Cudmore, Justin Chon, Julia Jones, Sarah Clarke. Directed by Bill Condon

Sometimes you have to take into account as a critic that your own personal taste isn’t going to mesh well with the intended audience of a film. One instance where that has been demonstrated time and again is in the Twilight series. Wildly popular, particularly among young girls (and to a large extent, their moms) it has spawned a diehard fanbase who identify themselves as TwiHards. It has also spawned an incredible backlash, mainly among boys (and to a large extent, their dads) who despise the series with a vitriol heretofore reserved for the same regard held by Jews for Nazis.

So what is a critic to do? Are we supposed to write one review for the intended fanbase and another for the rest of the world, or try to make something that can be useful to those who aren’t necessarily fans of the series but may be curious whether or not to see the movie for themselves? Generally, I tend to go for the latter route as those fans have likely already seen the movie at least once – probably during its theatrical run or if not on home video certainly.

Taking place following the events of The Twilight Saga: Eclipse, the long-awaited wedding of Bella (Stewart) and Edward (Pattinson) is finally here and yes, the blushing bride looks ravishing in a demure-yet-sexy wedding dress that of course keeps her grinning groom hungry for more. Bella’s good friend Jacob Black (Lautner), the werewolf who was the third leg of the love triangle with vampire Ed, is less sanguine about the union – not just because he wants Bella for himself but also because he realizes just how dangerous it can be for Bella. They have words and Jacob ends up running into the woods, leaving Edward to escort a distraught Bella back into the reception.

They honeymoon on Isle Esme off the coast of Brazil. There, the loving couple at last consummates their marriage. True to form, Bella wakes up one morning and discovers herself pregnant. This isn’t necessarily a good thing. It isn’t that Bella and Edward don’t want children – it’s just that the mortal human body wasn’t meant to bear the child of a supernatural undead being like Edward. It is unlikely that Bella will survive it.

Her pregnancy proceeds at an advanced rate and they cut short their honeymoon and head back to Forks. When the werewolves find out what has happened, they are furious – and terrified. The spawn of such a union will be demonic indeed and in order to protect themselves, they must kill Bella before she can give birth. Jacob of course is having none of this and he leaves his pack, creating a new pack with Seth (Stewart) and Leah (Jones) with Jacob as the Alpha.

Bella grows progressively weaker and soon is forced to drink human blood to keep the fetus viable and allows Bella to gain some much-needed strength. When she goes into labor, all Hell is going to break loose. Edward must convert her into vampirism but will it be enough to save him – to save them all?

Condon is actually a pretty decent director with such movies as Gods and Monsters and Dreamgirls to his credit. He brings Guillermo del Toro’s usual cinematographer Guillermo Navarro on board and Navarro responds with the most beautifully shot movie of the series. He also continues to stock the soundtrack, as those who came before him did, with some nifty alt-rock tunes that nicely enhance the movie and appeal nicely to the target crowd.

Unfortunately, the dialogue is cringe-inducing and the acting really hasn’t improved much over the course of the series. Of course, you can’t really blame the actors for that – Summit’s demanding shooting schedule in producing one of these suckers every year is bound to take its toll.

There is enough here that makes this a much superior film to New Moon which isn’t saying much, but it’s still not enough for me to really recommend it to most audiences. Hardcore fans will love this as they inevitably would – TwiHards are nothing if not loyal – and even those not quite so obsessed but still within the target audience are likely to find this worthwhile.

The overwrought drama and again, choosing to make Bella a simpering idiot rather than a truly strong role model for her audience is frustrating. Meyer and those involved with the series have chosen to waste an opportunity to create a hugely popular series with strong female role models and instead turns it into an indigestible bodice ripper with little redeeming value other than it excites the fantasies of young girls and middle-aged women alike. While there is certainly nothing wrong with that as a goal, at least couldn’t they have made Bella able to protect herself?

WHY RENT THIS: There are plenty of fans who think this is the best film of the series.

WHY RENT SOMETHING ELSE: I’m not one of them.

FAMILY VALUES:  There are some scenes of paranormal action, some partial nudity and scenes of sexuality, a couple of disturbing images and some mature (relatively speaking) thematic elements..

TRIVIAL PURSUIT: Author of the Twilight series of books Stephenie Meyer has a cameo appearance as a guest at the wedding of Bella and Edward.

NOTABLE HOME VIDEO EXTRAS: There is a wedding video done in the hand-held style of most home wedding videos. There’s also a Jacob Fast-Forward and an Edward Fast-Forward in which those on the respective teams can watch all the scenes that their favorite heartthrob is in without having to endure those scenes with that other guy.

BOX OFFICE PERFORMANCE: $712.2M on a $110M production budget.

COMPARISON SHOPPING: Beautiful Creatures

FINAL RATING: 4/10

NEXT: Farewell, My Concubine

Supernova


Angela Bassett takes time out to play a high tech version of Cat's Cradle.

Angela Bassett takes time out to play a high tech version of Cat’s Cradle.

(2000) Science Fiction (MGM) James Spader, Angela Bassett, Robert Forster, Lou Diamond Phillips, Peter Facinelli, Robin Tunney, Wilson Cruz, Eddy Rice Jr., Knox White, Kerrigan Mahan (voice), Vanessa Marshall (voice), Kevin Sizemore. Directed by Walter Hill

By now, virtually any sci-fi movie junkie can tell you the plot of a typical Hollywood space opera without seeing it: A crew of a seen-better-days vessel goes to remote system, finds alien/bad person/person affected by alien object, and brings he/she/it aboard said vessel.

Crew gets offed one by one in gruesome fashion aboard suddenly claustrophobic ship. Brave captain/crewman/strong silent type battles alien/bad person/person affected by alien object and is defeated and assumed to be killed.

Alien/bad person/person affected by alien object stalks comely female. Comely female battles back and does surprisingly well, until a), she blows up vessel with alien/bad person/person affected by alien object inside it, b) she lures alien/bad person/person affected by alien object into airlock with her comeliness and/or gratuitous nudity, then blows it into space, or c) brave captain/crewman/strong silent type comes back from the dead to rescue comely female and TOGETHER they blow up seen-better-days vessel with alien/bad person/person affected by alien object inside it.

No matter what, big things go boom inevitably in Hollywood’s formula for sci-fi. Even in space where sound doesn’t actually travel.

Supernova follows this plan nearly to the letter, as a rescue vessel answers a distress beacon from a remote mining colony. En route to the colony, the captain meets a particularly gruesome end (this one is for Trek fans who yearn to see graphic transporter accidents) and the ship suffers some heavy damage. The rest of the crew meets the sole survivor (Facinelli) of the supposedly abandoned mine, who is the son of a man who was once romantically involved with the ship’s doctor (Bassett).

From the first moment we meet him, he acts suspiciously enough to make Mother Theresa paranoid. Shortly thereafter, all heck starts breaking loose, as delineated in the outline above.

While Supernova is certainly predictable, it does have its moments. There are some gen-u-wine whiz-bang special effects (for its day) and the cast is solid, particularly the nearly unrecognizable James Spader in the taciturn hero role. Robert Forster as the ship’s luckless commander and Lou Diamond Phillips as an amorous crewman also turn in solid performances in a picture that overall doesn’t deserve ’em.

Be warned – Supernova sat on a studio shelf for more than a year before seeing the light of day – never a good sign – and was quickly dumped onto the marketplace during a time of year when new releases are generally few and far between. There IS a reason for such shabby treatment, folks.

I can’t think of many reasons to go rent the movie (and, it appears, neither did the moviegoing public, which stayed away in droves) especially in a theater full of obnoxious, restless teens as Da Queen and I did (at least we got a couple of passes for our trouble). Ah, sweet memories.

Supernova IS a great looking movie, for the few of you who absolutely, positively must see it. Spader is reasonably interesting as an action hero, a radical change from the soft-spoken cerebral sort he usually plays. Still, these are mighty poor excuses to plunk down hard-earned cash on a movie that reminds me of seeing a paint-by-numbers done by a four-year-old hanging in the Louvre.

Obviously I can’t really recommend this other than to those who want to see every big budget sci-fi film ever made. It isn’t completely without redemption, but for the most part you can find a better movie to fill your time with without stretching too hard.

WHY RENT THIS: Some fairly decent special effects. Spader is serviceable as the action hero.

WHY RENT SOMETHING ELSE: Pedantic and predictable. Lapses in believability.

FAMILY MATTERS: The movie has it’s share of violence and action scenes as well as a little bit of sexiness and some nudity.

TRIVIAL PURSUITS: Was the first post-Alan Smithee film in Hollywood. For years whenever a director wished his name removed from the credits for whatever reason (normally because he didn’t want to be associated with the final product), the name “Alan Smithee” would be substituted. After the film Burn, Hollywood, Burn: An Alan Smithee Film was released, the name became too well-known and the Directors Guild of America substituted the name “Thomas Lee” for Alan Smithee. Although Walter Hill (himself a last-minute replacement for Geoffrey Wright who departed a few weeks before shooting over a script dispute) directed, the movie was credited to Thomas Lee upon release, the first film with the dubious distinction of doing so.

NOTABLE HOME VIDEO FEATURES: None listed.

BOX OFFICE PERFORMANCE: $14.8M on a $90M production budget.

FINAL RATING: 4/10

NEXT: Womb

New Releases for the Week of November 16, 2012


THE TWILIGHT SAGA: BREAKING DAWN PART 2

(Summit) Kristen Stewart, Robert Pattinson, Taylor Lautner, Peter Facinelli, Ashley Greene, Kellan Lutz, Jackson Rathbone, Elizabeth Reaser, Maggie Grace, Dakota Fanning.  Directed by Bill Condon

This is it – the final battle between the Cullens and the Morituri with Edward, Bella and their daughter caught squarely in the crosshairs. Who will survive? Well, many of those who will be going to see this right away will know from having read the books but that’s of course only if the filmmakers stick to the script. This one brings the series to a close, although considering the billions of dollars it has generated to this point I wouldn’t be surprised to see further trips back to this world.

See the trailer, featurettes, interviews and promos here.

For more on the movie this is the website.

Release formats: Standard

Genre: Romantic Fantasy

Rating: PG-13 (for sequences of violence including disturbing images, some sensuality and partial nudity)

Jab Tak Hai Jaan

(Yash Raj) Shah Rukh Khan, Katrina Kaif, Anushka Sharma, Rishi Kapoor. A veteran of the army, living in London, chooses to lead a double life. It all comes crashing down around him however when he is forced to choose between his wife and his muse.

See the trailer here.

For more on the movie this is the website.

Release formats: Standard

Genre: Bollywood

Rating: NR

Lincoln

(DreamWorks) Daniel Day-Lewis, Tommy Lee Jones, Sally Field, Hal Holbrook. The 16th President of the United States must cope with a bloody civil war, the prejudices of his political opponents and his own conscience in order to see America through. That he did so marks him as perhaps the greatest president our country has ever had and a hero for the ages.

See the trailer, clips and a promo here.

For more on the movie this is the website.

Release formats: Standard

Genre: Biographical Drama

Rating: PG-13 (for an intense scene of war violence, some images of carnage and brief strong language)

The Sessions

(Fox Searchlight) John Hawkes, Helen Hunt, William H. Macy, Moon Bloodgood. A polio victim confined to an iron lung determines to lose his virginity at age 38. With the help of his therapists and a somewhat unorthodox priest, he sets out to make his dream come true. Based on a true story.

See the trailer here.

For more on the movie this is the website.

Release formats: Standard

Genre: Dramedy

Rating: R (for strong sexuality including graphic nudity and frank dialogue)

Smashed

(Sony Classics) Aaron Paul, Mary Elizabeth Winstead, Nick Offerman, Octavia Spencer. A couple who love to party begin to find that the alcohol, drugs and sex are beginning to impact their careers and their lives. When the wife begins to spiral out of control, her very relationship with her husband comes into question as to whether or not he is a good thing for her.

See the trailer and clips here.

For more on the movie this is the website.

Release formats: Standard

Genre: Drama

Rating: R (for alcohol abuse, language, some sexual content and brief drug use)

Son of Sardaar

(Viacom18) Ajay Devgn, Sanjay Dutt, Sonakshi Sinha, Juhi Chawla. A man who returns home to the village where he grew up becomes a pawn in a long-standing family feud.

See the trailer here.

For more on the movie this is the website.

Release formats: Standard

Genre: Bollywood

Rating: NR

New Releases for the Week of November 18, 2011


November 18, 2011

THE TWILIGHT SAGA: BREAKING DAWN PART 1

(Summit) Kristen Stewart, Robert Pattinson, Taylor Lautner, Peter Facinelli, Ashley Greene, Kellan Lutz, Jackson Rathbone, Nikki Reed, Maggie Grace. Directed by Bill Condon

It’s the beginning of the end of one of the most successful film franchises of the last decade. Few other pop culture items have polarized audiences as much as this. Young girls and their moms are rabid about it to the point of obsession. Young boys and their older brothers hate it with a passion as if the makers of the Twilight series burned their comic book collection or something. In any case, the wedding between Bella and Edward finally takes place, leading to a complication that threatens not only Bella’s life (as always) but also the fragile peace between vampire and werewolf.

See the trailer, clips, interviews, featurettes, promos and web-only content here.

For more on the movie this is the website.

Release formats: Standard

Genre: Romantic Fantasy

Rating: PG-13 (for disturbing images, violence, sexuality/partial nudity and some thematic elements)

Happy Feet 2

(Warner Brothers) Starring the voices of Elijah Wood, Robin Williams, Brad Pitt, Matt Damon. Mumble, the dancing penguin from the first movie, now has a son of his own who is finding that he has two left feet. Like his father before him, Erik must now find his own way and his inner muse. However he might not get the chance as forces greater than he could have imagined put their world in peril and all the creatures of Antarctica will have to stand together – or fall separately.

See the trailer and a featurette here.

For more on the movie this is the website

Release formats: Standard, 3D, IMAX 3D

Genre: Animated Feature

Rating: PG (for some rude humor and mild peril)

Like Crazy

(Paramount Vantage) Anton Yelchin, Felicity Jones, Jennifer Lawrence, Alex Kingston. A British exchange student nearing the end of her student visa falls in love with an American and determines to stay with him, even though it violates the terms of her visa. When she’s caught and deported, the question becomes whether they will drift apart and find other people or if their love is strong enough to keep them together through the roughest of times.

See the trailer and promos here.

For more on the movie this is the website.

Release formats: Standard

Genre: Romance

Rating: PG-13 (for some sexual content and brief strong language)

The Skin I Live In

(Sony Classics) Antonio Banderas, Elena Anaya, Marisa Paredes, Jan Cornet. After his wife is burned in a terrible car crash, a renowned plastic surgeon searches to create a new artificial skin that might have saved her. The closer he gets to success, the more his quest spirals into obsession with consequences that are unforeseen and just as terrible. This is the new film by Spain’s pre-eminent filmmaker Pedro Almodovar.

See the trailer, clips and a featurette here.

For more on the movie this is the website.

Release formats: Standard

Genre: Drama

Rating: R (for disturbing violent content including sexual assault, strong sexuality, graphic nudity, drug use and language)