Luke Wilson Page 2

Aspiring author Aaron (Rock) is preparing his father's funeral amid all kinds of distractions. His novelist brother Ryan (Lawrence) jets in from New York, but won't help at all. His wife Michelle (Hall) is pushing him to move out from their mother's (Devine) house. The boyfriend (Marsden) of his cousin (Saldana) has just accidentally been given a hallucinogen. Uncle Russell (Glover) is on the rampage. And a small man (Dinklage) has something shocking to announce.

Through all of this, Aaron's hypochondriac best friend Norman (Morgan) tries to maintain some semblance of order. But he's useless.

Continue reading: Death At A Funeral Review

But every once in a while... something that really is politically incorrect comes along, like Mike Judge's new comedy, Idiocracy. And instead of the self-congratulatory smugness of Maher's show (and other so-called satirists who pretend to be daring but are actually mainstream), there is only embarrassed silence, except for the sounds of corporate sponsors bailing and studio executives caving in.

Continue reading: Idiocracy Review

Book-ended by a infuriatingly obvious graduation speech, the film kicks off with Mini (Nikki Reed) explaining how she needs to be a hooker, because modern, rich life is too damn easy. Her trick this evening just happens to be Martin (Alec Baldwin), her stepfather, who somehow doesn't notice the voice of his stepdaughter and agrees to turn off the lights for the entirety of the night. When confronted, Martin is apprehensive, but Mini sees opportunity in this equation. She quickly makes Martin a sex slave and devises a plan to get Diane (Carrie-Anne Moss), her mom sent to the looney bin, allowing for her and Martin to not have to hide their affair. Well, things go bad: Diane dies from an overdose, their neighbor (Jeff Goldblum) gets suspicious, and Detective Garson (Luke Wilson, for some reason) starts snooping around. Soon, Martin and Mini start questioning each other's motives.

Continue reading: Mini's First Time Review

This adage is wholly true for the Tenenbaums, a charismatic dysfunctional family set in a slightly surreal New York City. With an all-star cast and crisp dialogue, this film does what many other films of its genre lack -- it creates a family environment that is entertaining as well as easy to relate to.

Continue reading: The Royal Tenenbaums Review

The film opens as man (Luke Wilson) confronts by his wife (Mili Avital), who screams in admission that she is having an affair. Enraged, he storms out of the house. When he returns, she is dead, and her now estranged boyfriend (Norman Reedus) is suspect. So our hero takes matters into his own hands, finds the boyfriend, and kills him.

Continue reading: Bad Seed (2001) Review

The result of this combination is an overly ambitious film that's as muddled and cryptic as a mumble-filled Dylan vocal. Dylan stars as the symbolically named Jack Fate, an apparent musical legend, jailed in the midst of a brutally downtrodden America where the government has taken over, war is rampant, and even the counter-revolutionaries have counter-revolutionaries.

Continue reading: Masked & Anonymous Review

After wishing I could claw my eyes out through "How to Lose a Guy in 10 Days" and now "Alex and Emma" -- the two worst romantic comedies of the year to say the very least -- if I never see another Kate Hudson movie it will be too soon.

The bland but likable young actress has made nothing but stinkers since showing early promise as a slapstick comedienne in "200 Cigarettes" and playing a hesitant bride-to-be in "Dr. T and the Women" before peaking in 2000's "Almost Famous," starring as a rock-band groupie with a heart of gold. But in 2003, she's played two insufferable, irritating-passing-as-cute romantic leads in a row, in two insufferably dopey, counter-programming chick flicks.

February's "Lose a Guy" (up against male-targeted blockbusters "Shanghai Knights" and "Daredevil") featured Hudson as a superficial magazine relationship columnist who deliberately sets out to snare a boyfriend then drive him away -- and in the process has the same effect on any viewer without a fortified tolerance for women who act nauseatingly clingy, cutesy-poo and insecure.

Continue reading: Alex & Emma Review

Jules Verne might have a hard time recognizing his source material in the Jackie Chan action-comedy adaptation of "Around the World in 80 Days," but for non-purists, it's easy to forgive the many liberties taken in this funny, fleet-footed summer-matinee romp.

Although the ostensible main character is still screwball Victorian inventor Phileas Fogg (lanky Steve Coogan) -- who wagers against the stuffed shirts of the English scientific establishment that he can circumnavigate the globe in the titular time period -- this version of the story more literally revolves around Passepartout (Chan), Fogg's valet who has his own reasons for traipsing across continents.

Passepartout has stolen a jade Buddha from a Bank of London vault in order to return it to its rightful place: his native village in China. Fogg is his ticket to safe passage -- or so he thinks.

Continue reading: Around The World In 80 Days Review

When Walt Tenor (Greg Kinnear) decides he wants to become an actor, he tries to convince his twin brother Bob (Matt Damon) -- his conjoined twin brother -- to move out to Hollywood with him by saying, "You could be my stunt double!"

Yes folks, "Stuck On You" is another cheeky comedy of good humor and questionable taste from the Farrelly Brothers ("Kingpin," "There's Something About Mary" and "Shallow Hal"), and yes, folks, they get a surprising amount of mileage out of jokes like that one -- rim-shot-quality punchlines given winkingly ironic sparkle by the wily writing-directing team's laughing-with-not-laughing-at sensibilities.

There's the scene in which Walt walks his shy sibling over to a pretty blonde in a bar, then takes over the seduction himself when Bob blows it -- and ends up bringing the girl home (Bob tries to ignore their moaning from the other side of a makeshift curtain). There's Walt's "one-man" stage show about Truman Capote, in which Bob tries to slouch as inconspicuously as possible behind Walt's back.

Continue reading: Stuck On You Review

There seems to be an unwritten rule that movies starring ex-stand-up comedians must come to a grinding halt at some point for the star to have a vanity improv scene.

Every Robin Williams has such moments -- even his syrupy, sentimental pictures. Every Martin Lawrence movie does too. In "Blue Streak," the improv moment comes when Lawrence dons a nappy pigtails wig, gnarly false teeth, body padding and a velour jogging suit to pose as a hyperactive pizza delivery boy.

For that one scene, any common sense regarding the story is put on pause and Lawrence cuts loose with an epileptic booty bump dance and a lot of babbling smack, all of which is designed to produce seat-bouncing laughs (it doesn't), but has little to do with the movie.

Continue reading: Blue Streak Review