The world of professional boxing is one that often doesn't end well even though Rocky Balboa was once crowned heavyweight champion of the world he's had his fair share of ups and downs. Having previously been diagnosed with brain damage, Rocky thinks his time fighting is well behind him.
Having lost his wife years earlier, Rocky lives in his hometown of Philadelphia with very little company and when Adonis Johnson (the son of one time foe and subsequent friend Apollo Creed) turns up on his door step asking to be trained, Rocky is incredibly reluctant to accept. However, after seeing Adonis fight, he sees a spark in the young man that similar to that of his father and agrees to take him on - all this whilst fighting a disease of his own.
After a short amount of time, Creed finds himself in with a chance of winning the title for himself, but the young protégé soon finds out that he must master much more than just physical strength to become the champion.
Continue: Creed Trailer
When you need someone to break into a place and steal something, a career cat burglar is your best bet. Scott Lang (Paul Rudd) is in jail, which isn't the best start, but when Dr. Hank Pym (Michael Douglas) needs a thief, Lang is still his man. Pym was once a miniature superhero known as Ant-Man, yet when Darren Cross (Corey Stoll) takes over his company and tries to mass-market the powerful Ant-Man suits, Pym hires Lang to break in and steal the suit back. From there, he must become the Ant-Man - no matter how much he hates the name.
Continue: Ant-Man Trailer
An awful lot has happened in the world - A Second World War super soldier has risen from the dead, a billionaire playboy has revealed himself as a costumed superhero, and the Norse God of thunder himself has come to earth on four occasions. So for Scott Lang (Paul Rudd), a petty criminal entrusted with the secret of his mentor's super-secret substance designed to shrink a person, it should be seen as just another day in the life for a person of planet Earth. Now, with the ability to shrink his down to a minuscule size while increasing his strength, Ant-Man is born.
What starts out as a smart, sassy comedy about infertility gets bogged down in its own potty humour, ultimately becoming a dull caper romp that's impossible to care about. This is a real shame since the cast is clearly up for something more sophisticated and knowing, and the filmmakers seem to have some amusing ideas up their sleeves.
The film opens as Audrey and Tommy (Munn and Schneider) are celebrating their third anniversary and decide to start a family. When Audrey doesn't get pregnant, tests show that Tommy's low sperm count is to blame, due presumably to too many groin injuries while goofing around with his chucklehead pals (Heffernan and Faxon). But since he had donated to a sperm bank years earlier, he decides to make a withdrawal, only to discover that the last batch has already been sold. So he and his friends hire a crazy-eyed Indian criminal (Chandrasekhar) to orchestrate a heist.
Munn and Schneider are gifted actors who create an engaging sense of chemistry in the feisty first act, grounding the comedy in real marital issues that are riotously funny because of the unexpected frankness of their discussions about sex. But as this starts to drift into a series of one-note gags about semen and genitals, our patience wavers. And then the caper kicks in, and it's so contrived and stupid that we lose all interest in the film and the characters. We may still care about Audrey and Tommy, but the situation they get into is just as idiotic as the people around them.
Continue reading: The Babymakers Review
It's the not-so-distant future, and 800 million people are crammed into the only remaining inhabitable area in North America, a mega-city that covers the East Coast. With so many people, crime is out of control, so cops and lawyers have been replaced with judges who arrest, try and execute criminals on the spot. Dredd (Urban) is a particularly efficient judge, assigned one day to take trainee Anderson (Thirlby) with him for evaluation. But they walk into a nasty gang war in a 200-storey tower block, where snarling gang boss Ma-Ma (Headey) locks them in and starts hunting them down. And while Dredd and Anderson have to be careful not to kill the block's innocent residents, Ma-ma doesn't care how many people die.
Continue reading: Dredd Review
There comes a time in a relationship when baby talk must be had. When Audrey brings the subject up with husband Tommy, he doesn't think sowing the seeds of nature would be a problem - especially since he sold a sample of his sperm to the local sperm bank some years ago. However, after being unsuccessful at getting his wife pregnant several times, they go to a doctor who informs him of his extremely low sperm count. Feeling slightly emasculated, he suggests that there could be a problem, perhaps, with Audrey's body, but the doctor dismisses the idea as her ovaries are in perfect shape. Remembering when he sold his sperm sample, he revisits the sperm bank and requests it back in a last bid to have a baby. When the man at the clinic tells him it has already been sold, Tommy offers twice the amount of money they did in order to win it back. He is refused but his friends persuade him that he has the right to steal it back and so they set out on a scheme to retrieve his last chance at fatherhood.
Continue: The Babymakers Trailer
Daphne Rubin-Vega, Blair Underwood, Mann, Nicole Ari Parker and Wood Harris - Daphne Rubin-Vega, Blair Underwood, Emily Mann, Nicole Ari Parker and Wood Harris Sunday 22nd April 2012 Broadway opening night of 'A Streetcar Named Desire' at the Broadhurst Theatre Curtain Call
Wood Harris, Blair Underwood, Daphne Rubin-Vega and Nicole Ari Parker - Wood Harris, Nicole Ari Parker, Daphne Rubin-Vega and Blair Underwood Tuesday 28th February 2012 Meet and greet with Broadway's 'A Streetcar Named Desire', held at Pershing Square Signature Center.
Donald Faison, I assume, was on hiatus from his steady television gig on Scrubs and needed a project to bridge the gap. He ambles his way through this laughless dud as Leo, a marijuana-addicted employee of Next Day Air who mistakenly delivers a cardboard box filled with cocaine to the inept bank robbers in apartment 302 instead of the waiting drug dealers in 303. That's a tough floor.
Continue reading: Next Day Air Review
Homicide and The Corner, in their concern for covering multiple aspects of race, class, and authority in an American city, made for some of the best television of '90s. The Wire, Simon's series about the intersection of police and the drug trade, ranks among the most nuanced television series in history; it is easily the best police-procedural show that's ever aired. That's in part because the show's writers stubbornly refuse to fall into the clichés of the usual police procedural. The bad guys -- in this case, the men who run the drug trade around Baltimore's housing projects -- are often as shrewd and smart as the cops, with characters just as layered as anybody else. The star of season one, to the extent there is one, is Larry Gilliard Jr., who plays D'Angelo Barksdale, nephew of Avon (Wood Harris), who runs the business out of an office above a strip club. (The show pretty much annihilates the notion of drug dealers living high-class lives in tony neighborhoods. The money's good, but you're always nervous about it, and you're still in the thick of the projects.) A tough-nosed but naïve adolescent, D'Angelo balances the day-to-day work of dealing with handling his friendships, girls, and his future -- to the extent he ponders something that abstract. Nothing in the formal structure of the show -- music, plotting, dialogue -- casts falsely melodramatic judgment on D'Angelo. He is what he is.
Continue reading: The Wire: Season One Review
The familiar story told in "Paid In Full," the story of a good ghetto kid seduced into the drug trade with tragic results, covers no new territory. But it's a story told so well -- with veracity, raw compassion, well-drawn characters and strong performances -- that its common cautionary tale feels as compelling as it might have been in the 1980s, when the film takes place and before this type of movie became its own genre.
"Paid" plays as if it were made by people who lived it. People like Ace (Wood Harris), a reticent clerk at a neighborhood dry cleaners who has always been happy to blend into the woodwork and just be a survivor, even as he sees his closest friends becoming flush with cash, clothes and cool cars."That ain't my flow, man," Ace says when his best friend Mitch (Mekhi Phifer) tries to lure him into his small-time drug empire.
But as temptations mount (a local Colombian cartel middleman leaves him a cocaine "tip" in a jacket pocket at the cleaners), power becomes attractive (he'd like to get his sister away from her pimp-dealer boyfriend) and opportunities present themselves (Mitch gets arrested, leaving his street business up for grabs). Ace succumbs, in small increments, to the enticements of what seems like an effortless road to living well.
Continue reading: Paid In Full Review
The world of professional boxing is one that often doesn't end well even though Rocky...
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If you can still remember Sylvester Stallone's ridiculous 1995 sci-fi action romp Judge Dredd, don't...
There comes a time in a relationship when baby talk must be had. When Audrey...
Sadly, the most passionate and persuasive argument in recent years against the current disposition of...
Here's the pitch: Take an emotional drama about the racial conflict concerning the integration...