Here, in the long-awaited semi-finale to the enormously successful series of novels made into movies, our trusty trio of neophyte magicians, Harry Potter (Daniel Radcliffe), Ron (Rupert Grint), and Hermione (Emma Watson) have graduated from Hogwarts School just in time for a resurgence in power of the evil Voldemort.
You would think that in this technological era, we wouldn’t have a mechanical disaster like a runaway train. But we did. And it wasn’t that long ago, in southern Pennsylvania.
“For Colored Girls” is Tyler Perry’s adaptation of the play “For Colored Girls Who Have Considered Suicide When the Rainbow Is Enough.” Like good theater, it’s more about the character development, and the personality interplay, and this strong ensemble cast leaves some really strong impressions:
"Tamara Drewe” is one of those British relational comedies, where everyone is witty and clever, and seems to be doing the “Aw, shucks” routine with hands in pockets and shoes scratching the dirt and tongue planted firmly in cheek. You almost expect Hugh Grant to come shuffling onscreen with that ironic, crooked grin, shrugging and scuffling.
“Due Date” is the “road movie” that takes a lot of left turns. It’s one of those “Odd Couple” arrangements, where Robert Downey Jr., plays the uptight, wound-up, fussbudget, and Zach Galifianakis plays the free spirit — ditzy, discombobulated, disheveled and somehow they wind up in a car together, traveling across the country.
“Morning Glory” is the kind of “chick flick” that is relatively safe for guys: the males are still secondary, but not insignificant. And though not intended as any kind of parable about church --- religion is never even mentioned --- it feels like many of the same dynamics, anyway.
“Pure Country 2: The Gift” is pure cornpone. At times it’s so awkward it’s embarrassing; at other times it feels like a two-hour country music video. But at its core it’s heartfelt, family-friendly, and religious, which couldn’t be all bad.
“Hereafter” promises a glimpse into the afterlife, but is strangely devoid of any kind of reference to any religion, including Christianity. So don’t expect any faith statements of any kind, other than some amorphous sort of ill-defined assumption that is a lot closer to the Biblical Sheol than anything resembling the heaven of the New Testament.
Woody Allen’s signature trademark is an ensemble of articulate, cosmopolitan urban adults who make a shipwreck of their lives by allowing themselves to be controlled by whatever passing passion looks irresistible.
One is pure undistilled machismo — a tattooed, long-haired, tough-looking hombre who never seems to turn away from a fight, and never seems to lose one, either.
“The Town” is a gritty story about bank robbers with a little lilt at the end. Is believing in redemption the same as rooting for the bad guy to get away?
Pat Tillman was the poster child for the American military of the ought decade — the NFL defensive back for the Arizona Cardinals, who resigned at the height of his stellar career, giving up a multimillion dollar contract, to sign up for the Army as an enlisted man.
Yes, “Going The Distance” is both scatological and funny. If you don’t like the raunchy humor, don’t go see it. But it’s both a sensitive and hilarious treatment of a subject that has affected a lot of people — long-distance relationships.
“The American” is a high-impact film with a serene, starkly simple setting, and a quiet, slightly discordant musical score that creates a building tension throughout.
Spoofing is a delicate business. You can be so subtle that the viewers hardly know you’re playing a parody of your own part. Then there are self-parodies, even when they aren't meant to be.
