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| Natalie, Dylan, and Alex, three glamorous, tough-as-nails, investigative agents - who work for the Charles Townsend Detective Agency - are sent undercover to retrieve two missing jewelry bands. These are no ordinary wedding rings. They contain valuable information that reveals the new identities of every person in the FBI's Witness Protection Program. After five of the program's participants turn up dead, only the Angels can stop the perpetrator, using their expertise as masters of disguise, espionage and martial arts. | ||||
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| Totally worthless sequel to the first equally worthless movie. The plot is stupid (it makes one of the old episodes of the TV series seem like Shakespeare); the movie is chock full of deafening explosions and needlessly loud special effects (I had to cover my ears once); the jokes are abysmal (I groaned aloud at a few) and contained some stunts that were so over the top I actually yelled "Oh come on!" a few times (but nobody could hear me over the soundtrack. Also the sexism is in high gear (again). Purportedly we're supposed to applaud this movie because it shows strong, intelligent women single handedly beating up bad guys. True--that is good. But they're always dressed in VERY tight or revealing clothes (of course there's the required beach sequence when they're all in bikinis), and are CONSTANTLY having water thrown on them or are inexplicably getting wet (notice how conveniently the water sprinklers start when they're walking over a lawn). This happens all throughout the movie and got annoying. Drew Barrymore, Cameron Diaz and Lucy Liu are as good as anyone could be and Bernie Mack, Robert Patrick and Matt LeBlanc were very good in supporting roles. And it's great to see Demi Moore back in films (even if she still can't act). The songs in the movie were good and I must admit the stunts, while VERY stupid, were eyepopping. Still, I hated this movie. I guess my taste for mindless, loud summer movies has peaked. This should be avoided. Notice...the majority of people voting on this gave it a 1. | ||||
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| Set in the distant future, a spaceship carrying some 40 people, mostly ones wanting to settle on other planets from their own, hits a meteor shower and crash lands on a distant planet killing all but about a dozen of them. The survivors, led by the second-in-command Carolyn Fry ('Rahda Mitchell' ), find themselves on a hot and humid landscape with constant sunlight from three orbiting suns. Fry not only must help the survivors find food and water, but contend with a deadly criminal, named Riddick (Vin Diesel), who was being transported to a prison cell on their destination. But every 22 years, the planet's three suns go into a total eclipse for a month where darkness brings out the planet's real inhabitants; large, reptilian, vampire-like creatures that come out and dominate the surface in total darkness, killing and eating all life. The Fry and her people then must cooperate with Riddick, who has surgically enhanced eyes to see in darkness, to lead them to safety and off the planet before they all become dinner for the creatures. | ||||
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| Except for some running around looking for power cells there's little of the usual sci-fi technoprops in this A- flick about a motley bunch of space travelers stranded on a planet inhabited by flock of man eating Raptors. The film focuses on the characters and their predicament and would be little more than an ordinary action/horror flick set in an earthly desert were it not for an interesting character played by Vin Diesel. Okay for sci-fi addicts and Diesel fans. Others may find it a low budget disappointment. | ||||
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| When young Violet finally follows her dream and moves to New York to become a songwriter, she knows little about the big city. All her efforts to get a demo tape to a producer are useless, additionally her apartment is broken in to, leaving her with nothing. But a coincidence leads her to Coyote Ugly, a night club where only beautiful women call the shots, using their female attraction to drive the guests just crazy. Violet manages to get a position and starts learning the ways of the city. After getting in trouble because of a misunderstanding, Violet's new friend Kevin tries to rid her of her stage fear so that she can perform her songs herself. Violet's father Bill does not like her new job as well as her leaving him, but it's all part of growing up. | ||||
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| Violet Sanford(Piper Perabo)wants to avoid a dead end life and decides to leave New Jersey for the big city. In NYC, she is determined to be a hit song writer. In order to make ends meet, she takes a job slinging beer and dancing on the bar with the other "Coyotes" at the popular watering hole Coyote Ugly. This is very titilating and an eye full to watch. Very good soundtrack as well. I was most impressed with the owner of the bar(Maria Bello). And I wish the powers that be could have found more screen time for cutie LeAnn Rimes. Supporting cast includes Adam Garcia, Melanie Lynskey, Tyra Banks and John Goodman. The trailers do not give you the impression that there is indeed substance to this movie. Order another round and enjoy. This is worth seeing more than once. | ||||
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| With this sequel to his prize-winning independent previous film, "El Mariachi," director Robert Rodriquez joins the ranks of Sam Peckinpah and John Woo as a master of slick, glamorized ultra-violence. We pick up the story as a continuation of "El Mariachi," where an itinerant musician, looking for work, gets mistaken for a hitman and thereby entangled in a web of love, corruption, and death. This time, he is out to avenge the murder of his lover and the maiming of his fretting hand, which occurred at the end of the earlier movie. However, the plot is recapitulated, and again, a case of mistaken identity leads to a very high body count, involvement with a beautiful woman who works for the local drug lord, and finally, the inevitable face-to-face confrontation and bloody showdown. | ||||
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| Robert Rodriquez's Desperado is one of the best action films I've seen in a long time. True, his original version of this (El Mariachi) wasn't as big as this and was more authentic, but this has action that blows me away (and what a nice figure on Salma Hayek). Similar story to Mariachi with a few twists (better acting, better stars and lots of more realistic action) including such actors as Antonio Banderas, Steve Buscemi, Cheech Marin, Danny Trejo, Quentin Tarantino (his is the best part of the movie) and in her breakthrough performance (another breakthrough for her was her blouse) Salma Hayek, who plays a quiet Mexican librarian. Some charm, some coolness, but all of it is on with the gun shooting and Steve Buscemi. A | ||||
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| It's up to James Bond to discover the connection between a North Korean terrorist and an adventurous diamond broker whose looks may be deceiving. | ||||
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| This movie features the collaborative directorial efforts of four new filmmakers, each of whom directs a segment of this comedy. It's New Year's Eve at the Mon Signor Hotel, a former grand old Hollywood hotel, now fallen upon hard times. Often using physical comedy and sight gags, this movie chronicles the slapstick misadventures of Ted, the Bellhop. He's on his first night on the job, when he's asked to help out a coven of witches in the Honeymoon Suite. Things only get worse when he delivers ice to the wrong room and ends up in a domestic argument at a really bad time. Next, he foolishly agrees to watch a gangster's kids for him while he's away. Finally, he finishes off the night refereeing a ghastly wager. | ||||
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| FOUR ROOMS / (1995) *1/2 (out of four) "I'm in a situation I can't begin to explain." -Ted the Bellhop You can say that again! For Ted the Bellhop, things go from strange, to stranger, to even stranger in the comedy "Four Rooms," a film that is really four films by four separate teams of filmmakers, all linked by location and a single character under increasingly urgent circumstances. When another character asks Ted his problem, his response is right on the money: "Problem? I haven't got a problem. I've got f*cking problems. Plural." One could also say that about this movie, a confusing, pointless mess of stale, unfunny humor, overacted characters, and a load of Hollywood stars and filmmakers so prestigious that it makes us wonder why such people would involve themselves such an unentertaining flop. "Four Rooms" stars Tim Roth in a biting, fanatical performance as Ted, a bellhop working at a faded hotel. He is the only person on duty this night, and he really gets his hands full. In the first story, called "The Missing Ingredient," written and directed by Alison Anders, Ted checks in a clan of witches who try to perform a resurrection but can't because they lack a certain component in their spell. Naturally, its semen. What other bodily fluid is there in movies these days? Ted is the only male around, therefore, its only a matter of time before Ted finds himself seduced by a bare-breasted witch. The next segment, called "The Wrong Man," written and directed by Alexander Rockwell, is equally as bad, if not worse (it's a tough call) as the first. Ted walks into a room with a manic depressive lunatic who holds his wife at gun point to test her fidelity. Ted becomes the middle man, with no where to run and nowhere to hide. Robert Rodriguez writes and directs the film's best part, though that's not saying a whole lot. It's called "The Misbehavers" and features Rodriguez's "Desperado" actor Antonia Banderas. He leads his rich, fancy family to the hotel, then abandons his two chaotic children to spend New Year's Eve with his lovely wife. He pays Ted five-hundred dollars to baby-sit them for a few hours. After a predictable hell breaks loose, Ted concludes this situation with the following reflection: "There's a putrid, rotting corpse of a dead whore stuck in the springs of the bed. There's rooms blazing afire. There's a big fat needle from God knows where, stuck in my leg, infecting me with God knows what. And finally there's me, walking out the door, right f*cking now. Buenas noches." "The Man from Hollywood" is the film's finale, by "Pulp Fiction" director Quentin Tarantino. Tarantino himself stars as an obnoxious Hollywood star who rents a suite with his bizarre arrangement of friends, including Bruce Willis as a man with marital difficulties. By the time Ted walks in, they're drunk and doing a replay of an old Alfred Hitchcock TV episode where a man bets he can light his lighter 10 times in a row. If he loses, he also loses his pinkie finger. This episode probably holds the record for containing the most four letter words in twenty minutes. "Four Rooms" has reportedly been substantially cut since its disastrous September 1995 screening at the Toronto Film Festival, but it's hard to imagine the film running any longer. The first half is a painful experience, while the second half is simply not good. The film has a lot of energy, a cute little theme song and opening credit sequence, and Tim Roth is hard at work here, quirky and full of life. But he is all by himself, not supported by the writing--there are problems within his character. The key to a movie like this is to keep the connecting character consistent through his experiences. However, "Four Rooms" changes him from meek and timid to explosively reactive. It's hard to laugh at jokes about abnormalities when the main character is almost deranged himself. The four film's connect well, and I kind of liked some of the material in the closing segments, including the performances by Bruce Willis and Quentin Tarantino. But even here the situation is disposable and the dialogue is all over the wall. "Four Rooms" keeps us stuck in a series of stories that are not funny, entertaining, or engaging, but lackluster and deprived. The film was released on Christmas Day, which really amazes me. This movie is R-rated and intended for adult audiences only, containing everything from plotless nudity to streaming vulgarisms. Most movies released on this family-oriented holiday are, well, somewhat tactful, but not "Four Rooms." The sheer nerve of the studio to release the film on December 25th should in itself be a good sign of its audacity. Consider yourself warned. | ||||
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