The Avengers are suffering from an image crisis. As much good that they do and as many lives that they save, the superheroes also cause unlimited amounts of damage to cities and civilisation. The government wish to find an answer to this problem and they decide that all superheroes should be registered and held accountable for their actions.
Tony Stark is brought in to begin talks on behalf of The Avengers, knowing how much damage he's personally done under his superhero disguise, Stark see the government's point and decides that a register wouldn't be entirely unwelcome. Captain America on the other hand has no such wishes; The Cap sees any government intervention as something beyond reasonable requirement. In the middle of all this is Cap's old friend Bucky who could be prosecuted under the new laws. As The Avengers are forced to split into two halves, it looks like there's going to be no way for the old team to form any kind of agreement.
As their opinions deepen and rivalries are deepens, certain members of Hydra begin to tighten their control and their plans for future domination of the world are getting stronger. The Avengers must find a way to put their differences aside in order to beat the real enemy.
Michael Fassbender was among the cast of historical biopic '12 Years A Slave' who attended the New York Film Festival premiere of the flick. He was joined by director Steve McQueen and main star Chiwetel Ejiofor.
Taylor Swift, Jerry Springer, Alec Baldwin and his wife Hilaria Thomas and Robert F. Kennedy Jr. were among the mass of arrivals for the 2012 Ripple of Hope Awards Dinner at The Robert F. Kennedy Center for Justice and Human Rights in New York City.
With the remake of Steel Magnolias premiering this weekend (October 7th), it's been a tough task for the new actresses Queen Latifah, Alfre Woodard, Jill Scott and Phylicia Rashad to fill the boots of Sally Field, Shirley MacLaine, Dolly Parton and Olympia Dukakis. What made the original such a success, was the clear off-screen bond between the four actresses that translated in front of the camera for the 1989 film, but the current crop insist they're feeling just as close to one another.
"It's been a love fest," said Scott to The Press Association, adding that they'd have taken any role offered so as to get a chance to appear in a film that's original held a special place in her heart. "We connected immediately, so we didn't really have to fake being girls in the beauty shop," Latifah said. "We just bonded right away." Woodard meanwhile argued that the film was a true representation of what humanity is - that we all need community. "We are communal beings at the core," she said.
"As we've moved away from an agrarian culture to a metropolitan one, the only place you gather for community in that way is either at church or at a spot like a hair salon or barber shop. But at the church, you can't get real because you're trying to get right. You can actually be more of your loving self in the salon. You actually get more healing in the salon than in the church."
For starters, Dinosaur is that rarest of Disney animation flicks which is not a musical. There's a thumping James Newton Howard score, but the only singing here comes from trumpeting iguanodons and brachiosaurs. The story, on the other hand, is typical Disney kiddie fare: Iguanodon Aladar (D.B. Sweeney) is orphaned as a wee dino-egg on a remote island, where he is raised, Tarzan-style, by a family of lemurs (er... okay). When a freak meteor strike blows the island away, along with much of the rest of the world, Aladar swims to the mainland with his lemur family on his back, where he meets up with the surviving herbivorous dinosaurs who have banded together to trek to "the nesting grounds," a Waterworld-style vale which hasn't been reduced to desert and ruins like, apparently, the rest of the earth. (And never mind the fallout; there is none...)
Continue reading: Dinosaur Review
Loren Dean (Enemy of the State, Apollo 13) does a decent job as Dr. Mumford, the most popular psychologist in the small town to which he just moved. Listening attentively to the tormented visitors of the treatment couch, his apparent peace of mind and even temper become infectious. Ubiquitously available and sounding less like a shrink than a wise uncle who gives just enough advice at just the right time, it's no wonder Dr. Mumford is everyone's favorite confidant. But will those he's helped to see through their own faults be just as understanding if they find out the truth of his past?
Continue reading: Mumford Review
Cuba Gooding Jr. deserves similar congratulations for his courage, not just for "playing retarded" in the titular role in Radio, but for most of what he's done since he won his own Oscar as jawboning jock Rod Tidwell in 1996's Jerry Maguire, a role in which his only devastating handicap was playing for the Arizona Cardinals. If not true fearlessness, it's hard to imagine what else can explain some of Gooding's recent script-picking decisions - Chill Factor, Instinct, Rat Race, Snow Dogs, and the execrable Boat Trip come to mind. Maybe he can't read.
Continue reading: Radio Review
Bucking the odds, MGM's Beauty Shop spins off from the successful Barbershop comedies, taking Queen Latifah's sassy stylist Gina Norris from the second installment and setting her up in a potential franchise all her own.
Continue reading: Beauty Shop Review
So the genre we're talking about in the case of K-PAX: A crazy man thinks he's an alien (a psychic, a king, etc.). The obvious question: Which is he: crazy, or an alien, or both? (A crazy alien, now that would be a fun twist on the whole genre wouldn't it?)
Continue reading: K-PAX Review
An inspired labor of love about sports and romance in which the female lead is an athlete, too, "Love and Basketball" is one for the "why didn't anybody think of this before?" file.
For decades, the women in sports movies have to settle for being glorified cheerleaders while the men took all the glory as athletic heroes of various varieties. But writer-director Gina Prince-Bythewood sets this picture in the world of college basketball where the couple in question (played by Omar Epps and Sanaa Lathan) are both gifted ball players.
It's an idea whose time has definitely come, and what's more it makes for swell dramatic conflict since Quincy (Epps) has it easy as a heavily-recruited wunderkind and Monica (Lathan) is frustrated in her second-string role on the school's much-neglected women's team.
Continue reading: Love & Basketball Review
A talented ensemble cast brings an extremely authentic family dynamic to "What's Cooking?," a satisfying four-course cross-section of ethnic American clans gathering for their Thanksgiving dinners.
Conceived by director Gurinder Chadha as a celebration of diversity, the film opens with an ironic shot of an advertisement on the side of a Los Angeles bus featuring an airbrushed white-bread family carving a turkey. Chadha then moves inside the bus to show the rainbow of races living together in the area, then on into a grocery store, where she picks up her first story in which a young Mexican-American man (Douglas Spain) bumps into his exiled father (Victor Rivers) and invites him home for Thanksgiving dinner.
This doesn't sit too well with his mother (Mercedes Ruehl), who had kicked Rivers out after discovering he'd had an affair. But she's prepared to make the best of it as her huge family gathers for their traditional daylong holiday preparations, mixing turkey with a cornucopia of Latino delicacies.
Continue reading: What's Cooking? Review
It would be a terrible shame if talented actors like Stanley Tucci, Delroy Lindo and Alfre Woodard have reached a point where money trumps professional pride. But I can't imagine any other reason they'd sign on to a half-witted, obscenely formulaic, huge-budget save-the-Earth sci-fi embarrassment like "The Core."
Almost exactly the same movie as "Armageddon" -- and almost as insufferable -- it features a handful of good-looking scientists and NASA astronauts who, instead of going into space to set off a nuke and save the world from a asteroid, travel to the center of the Earth to set off a nuke, thus restarting the dying molten core and saving the world from electromagnetic disaster.
The exact same shopworn characters die in the exact same order, some accidentally, some heroically to save the mission. The simplest laws of physics and even plain-as-day physical facts are utterly ignored (the nuke-the-core plan is based on two-dimensional thinking even though the Earth is -- duh! -- a sphere).
Continue reading: The Core Review
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