The Chronicles of Narnia: Prince Caspian |وقایع‌نگاری نارنیا: شاهزاده کاسپین| 2008

The Chronicles of Narnia: Prince Caspian (2008

Director: Andrew Adamson
Cast: Liam Neeson, Peter Dinklage, Anna Popplewell, Ben Barnes
Rating: PG

Movie Details

Title: The Chronicles of Narnia: Prince Caspian
Running Time: 144 Minutes
Status: Released
Country: United States
Genre: Adaptation, Adventure, Fantasy

Similar Movies

• The Lord of the Rings [Film Series]
• The Golden Compass
• Bridge to Terabithia

Here in the unenchanted world of ordinary moviegoing, it has been about two and a half years since “The Lion, the Witch and the Wardrobe,” the first installment in Walt Disney and Walden Media’s mighty “Chronicles of Narnia” franchise. In wartime England, where the Pevensie children live when they’re not consorting with talking lions and battling witches, a year or so has gone by. But in Narnia itself, to which the four plucky Pevensies return in “Prince Caspian,” the second movie in the series, centuries have passed, and everything has changed. The grand hall where Peter, Susan, Edmund and Lucy were made monarchs of the realm has fallen into ruin, and the friendly woodland creatures with their homey British accents and computer-animated fur seem to have vanished from the scene.

When the exiled child kings and queens are thrown back into Narnia (thanks to a sudden outbreak of special effects in a London tube station), they seem no longer to be in a children’s fantasy story but rather in some kind of Jacobean tragedy, a reminder that C. S. Lewis was, along with everything else, a scholar of English Renaissance literature. In a dark castle in a dark forest, men with heavy armor and beard-shadowed faces quarrel and conspire. Instead of fauns and Turkish delight, there are murder and betrayal, and a grave, martial atmosphere lingers over the story, even when the spunky dwarfs and chatty rodents return. (Aslan the lion also shows up eventually, speaking in the soothing voice of Liam Neeson.)

So “Prince Caspian” is quite a bit darker than “The Lion, the Witch and the Wardrobe,” both in look and in mood. It is also in some ways more satisfying. Its violent (though gore-free) combat scenes and high body count may rattle very young viewers, but older children are likely to be drawn into the thick political intrigue. The relative scarcity of digital effects in the first part of the movie allows the director, Andrew Adamson, and the director of photography, Karl Walter Lindenlaub, to explore the beauty of the Narnian landscape by more traditional cinematic means. Its lush glades and rocky escarpments provide a reminder that the supernaturalism of fairy tales originates in the magic of the natural world.

And tales of heroic adventure, however fanciful, are grounded in human problems of power, cruelty and conflict. “Prince Caspian” is named for its square-jawed, rather bland hero (played by Ben Barnes), but its major source of dramatic energy is the villain, Caspian’s uncle Miraz, who is played with malignant grandeur by the great Italian actor Sergio Castellitto. Miraz is a classic royal usurper, who has taken the throne from Caspian’s father, the rightful king, and who plans to pass it along to his own newborn son once Caspian is out of the way. His court is a viper’s nest of double-dealing and shifting allegiance.

Cue grumpy dwarfs, swashbuckling mice and apple-cheeked Pevensies. And hail the popular struggle of the Narnian underground! Since the Telmarines took over and suppressed the old magic, a hardy remnant of Narnians has been hiding amid the pacified trees, sustaining themselves with the legends of King Edmund (Skandar Keynes), Queen Lucy (Georgie Henley), Queen Susan (Anna Popplewell) and High King Peter (William Moseley). When these rulers return, they rescue Trumpkin (Peter Dinklage), a small, angry Narnian taken prisoner by Miraz’s soldiers, and eventually join Prince Caspian, who exchanges some long, half-smoldering looks with Susan.

In spite of this hint of romance, what ensues is basically a war movie, with elaborate battle sequences in a castle courtyard and on a grassy plain, accompanied by thundering hoofbeats, whizzing arrows, clanking swords and Harry Gregson-Williams’s rousing score. These sections are ostensibly what the public wants to see, and certainly what the producers pay heavily to bring to life. There is a risk of sameness and tedium, which Mr. Adamson does not entirely overcome, though he and his fellow screenwriters, Christopher Markus and Stephen McFeely, sprinkle in enough witty dialogue to keep the movie’s long middle from feeling like too much of a slog.

The main characters, whose sometimes fractious sibling dynamic provided the first “Narnia” movie with a hint of psychological complexity, seem a little flatter here, as if they’ve grown accustomed to their jobs as action heroes. And “Prince Caspian” isn’t really about them, anyway, except insofar as the kids in the audience identify with their courage and good sense.

The cloak of allegory in which Lewis swathed the Narnia books is worn lightly on the screen, and some of their charm and novelty has been chipped away — not so much by any lapse on the part of the filmmakers as by a sense of familiarity. Tales of good and evil set in enchanted lands populated by mythical beasts are ubiquitous these days, which may diminish the power of each new spell. The Pevensie children can withdraw to London between episodes, but moviegoers are unlikely, and also perhaps unwilling, to escape from Narnia and the other increasingly numerous, and therefore increasingly mundane, places like it.

“The Chronicles of Narnia: Prince Caspian” is rated PG (Parental guidance suggested). This rating may be a little misleading, since some of the violence is fairly intense, and some of the deaths may unsettle younger children.

THE CHRONICLES OF NARNIA: PRINCE CASPIAN

Opens on Friday nationwide.

Directed by Andrew Adamson; written by Christopher Markus, Stephen McFeely and Mr. Adamson, based on the C. S. Lewis books; director of photography, Karl Walter Lindenlaub; edited by Sim Evan-Jones; music by Harry Gregson-Williams; production designer, Roger Ford; visual effects supervisors, Dean Wright and Wendy Rogers; produced by Mark Johnson, Philip Steuer and Mr. Adamson; released by Walt Disney Studios and Walden Media. Running time: 2 hours 12 minutes.

WITH: Ben Barnes (Prince Caspian), William Moseley (Peter), Anna Popplewell (Susan), Skandar Keynes (Edmund), Georgie Henley (Lucy), Peter Dinklage (Trumpkin, the Red Dwarf), Warwick Davis (Nikabrik, the Black Dwarf), Sergio Castellitto (King Miraz), Pierfrancesco Favino (General Glozelle), Damián Alcázar (Lord Sopespian), Vincent Grass (Doctor Cornelius), David Bowles (Lord Gregoire) and Liam Neeson (Voice of Aslan).

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كارگردان: آندرو آدامسون

نویسنده: استفان مک‌فیلی، کریستوفر مارکوس، آندرو آدامسون

بازیگران: جورجی هنلی، اسکندر کینز، ویلیام موسلی، بن بارنز

رنگ: رنگی

ژانر: : فانتزی :: خانواگی :: حادثه ای :

درجه فیلم: PG

کشور: ایالات متحده/انگلستان

استودیو: والت دیزنی پیکچرز

افتتاحیه: 16 مه 2008

فروش هفته: 56.57

فروش کل: 56.57

مدت زمان فیلم: 140

امتياز منتقدان از 100: 64

جملات تبليغاتي: یک دوره جدید آغاز می‌شود.

خلاصه داستان: بچه‌های خانواده پونسی به سرزمین جادویی نارنیا بازمی‌گردند و می‌فهمند که در آن سرزمین 1000 سال گذشته است. به قدرت رسیدن یک پادشاه اهریمنی هم همه چیز را به هم ریخته است. بچه‌ها و متحدان‌شان دوباره دور هم جمع می‌شوند تا سلطنت را به شاهزاده کاسپین که وارث واقعی آن است بازگردانند.

حاشيه هاي فيلم: هزینه تولید فیلم 200 میلیون دلار بوده است. cinemaema©

The Chronicles Of Narnia: Prince Caspian — The Official Website

The Chronicles of Narnia: Prince Caspian (2008)

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Speed Racer |اسپید ریسر| 2008

Speed Racer (2008

Director: Gail Mancuso
Cast: Ted Danson, Emile Hirsch, Nancy Travis, Susan Sarandon, Hattie Winston
Rating: PG (Violence/Profanity

Movie Details

Title: Speed Racer
Running Time: 120 Minutes
Status: Released
Country: United States
Genre: Adaptation, Adventure, Action

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• Tron
• Spy Kids 3-D: Game Over
• Sky Captain and the World of Tomorrow
• Cars

Many of us who grew up watching television in the 1960s and ’70s have fond if vague memories of “Speed Racer.” Those big-eyed characters (Trixie! Speed! Racer X!), their mouths never quite moving in sync with the dialogue; those bright colors and semiabstract backgrounds; those endless, episodic story lines. Whether we knew it or not, the series was a primer in the aesthetics of Japanese animation, the love of which we could later pass along to our children.

Failing that, I suppose we could subject them to Warner Brothers’ new live-action feature film, also called “Speed Racer,” which was written and directed by Andy and Larry Wachowski, the maestros of “The Matrix.” Like so many other expensive, technologically elaborate big-screen adaptations of venerable pop-culture staples, this movie sets out to honor and refresh a youthful enthusiasm from the past and winds up smothering the fun in self-conscious grandiosity. The childhood experience the Wachowskis evoke is not the easy delight of lolling in the den watching one cartoon after another, but rather the squirming tedium of sitting in the back seat on an endless family car trip, your cheek taking on the texture of the vinyl seat as some grown-up lectures you on the beauty of the passing scenery.

And yes, some of what you see in “Speed Racer” is indeed beautiful (as is the slyly old-fashioned orchestral score by Michael Giacchino). The colors pop off the screen as if someone had burst a giant bag of digital Skittles. Look at those red socks young Speed is wearing! Did you ever see a dress as yellow as the one on Susan Sarandon? (She plays Speed’s mom. John Goodman is his dad.) Or a classroom so brilliantly orange? These hues occur nowhere in nature. And I’ll grant that it is mildly interesting to sit back and contemplate the philosophical and artistic implications of having human actors populate a completely synthetic environment in which the familiar laws of optics and physical movement no longer apply.

You could, come to think of it, spend a pleasant hour in a museum looking at still images and short, looping video installations culled from the hectic, 2-hour-15-minute morass of this movie. And there may be a perverse integrity in the way the Wachowskis approach the material, which is to focus relentlessly on visual style while dispensing almost entirely with credible emotion or intelligible narrative. But this would be an easier case to make if the visual style itself were not so busy and incoherent.

Yes, the colors are hot, the set design is cool, and the sidekick chimpanzee is cute, but the action sequences — the hyperreal video-game kineticism on which the Wachowskis’ reputation for virtuosity has rested — are chaotic and nonsensical. The sleek computer-animated racecars flip, jump and slide from side to side, but few of their feats elicit anything like the amazement or surprise of, say, watching moderately skilled teenage skateboarders in a parking lot. To be truly sensational, action needs to make sense and to convey the tension and grace of real physical movement, however fanciful the objects in motion may be.

But at least those cars — including Speed’s Mach 5, faithfully replicated from the old cartoons — move. When it comes to storytelling, “Speed Racer” has nothing in common with its title. Not only does it surpass the grinding tedium of “The Matrix Revolutions,” but it does so with far less excuse. Back in the early years of this century, it was possible to pretend that the grim-faced expository noodling of the later “Matrix” movies was the vehicle for profound insights into — well, something. Go look it up on Wikipedia.

But “Speed Racer” is about a boy driving a car, surely a subject that cries out for linearity, simplicity, velocity. Instead the first half-hour layers flashbacks with portentous foreshadowings, generating pointless confusion about who is doing what and why. After his beloved older brother, Rex, is killed in an accident — or is he? — Speed (Emile Hirsch) is wooed by the oleaginous head of the Royalton company (Roger Allam), and also by Trixie (Christina Ricci).

There are, to be sure, some vague intimations of an allegory about the tension between art and commerce, between the mystical love of racing for its own sake and the mercenary impulse to subordinate that love to the profit motive. But this parable would be more compelling if “Speed Racer” were not so transparently trying to have it both ways, to be at once profoundly visionary and punchily commercial, and failing on both counts.

On just about every possible count really. The moments of wisdom embedded in the dialogue (Racer X: “Racing will never change. What matters is whether we allow racing to change us”) are as fatuous as the kicky catchphrases (Trixie: “Cool beans!”). Speed’s mischievous little brother (Paulie Litt) and his pet chimp are annoying rather than endearing. The mysterious Racer X (Matthew Fox) looks tired and grumpy, and the teen-idol charisma of the South Korean pop star Rain (he plays another daredevil driver) is wasted. Mobsters, detectives, sportscasters and ruthless rival racers all parade across the screen, but none of them generate the sparks of humor, danger, energy or nobility that would ignite a sense of pop magic. “Speed Racer” goes nowhere, and you’d be amazed how long the trip can take.

“Speed Racer” is rated PG (Parental guidance suggested). It has some mildly naughty language and stylized violence.

SPEED RACER

Opens on Friday nationwide.

Written and directed by the Wachowski Brothers; director of photography, David Tattersall; edited by Zach Staenberg and Roger Barton; music by Michael Giacchino; production designer, Owen Paterson; produced by the Wachowski Brothers, Joel Silver and Grant Hill; released by Warner Brothers. Running time: 2 hours 15 minutes.

WITH: Emile Hirsch (Speed Racer), Christina Ricci (Trixie), John Goodman (Pops Racer), Susan Sarandon (Mom Racer), Paulie Litt (Spritle), Roger Allam (Royalton), Rain (Taejo Togokhan) and Matthew Fox (Racer X).

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كارگردان: اندی واچوفسکی، لری واچوفسکی

نویسنده: اندی واچوفسکی، لری واچوفسکی

بازیگران: امیل هرش، کریستینا ریچی، سوزان ساراندون، جان گودمن، متیو فاکس

رنگ: رنگی

ژانر: : خانواگی :: اکشن :

درجه فیلم: PG

کشور: ایالات متحده

استودیو: وارنر برادرز پیکچرز

افتتاحیه: 9 می 2008

فروش هفته: 20.21

فروش کل: 20.21

مدت زمان فیلم: 129

امتياز منتقدان از 100: 36

جملات تبليغاتي: برو.© cinemaema

Speed Racer In Theaters May 9th

Speed Racer (2008)

Speed Racer (film) – Wikipedia, the free encyclopedia

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Iron Man|آیرون من|2008

Iron Man (2008

Alternate Titles: Iron Man (Marvel), Ironman

Director: Jon Favreau

Cast: Robert Downey Jr., Terrence Howard, Gwyneth Paltrow

Rating: PG-13 (Sci-Fi Violence)

Movie Details

Title: Iron Man
Running Time: 126 Minutes
Status: Released
Country: United States
Genre: Adaptation, Adventure, Action

Similar Movies

• Batman Begins
• he Incredible Hulk

The world at the moment does not suffer from a shortage of superheroes. And yet in some ways the glut of anti-evil crusaders with cool costumes and troubled souls takes the pressure off of “Iron Man,” which clanks into theaters today ahead of Hellboy, Batman and the Incredible Hulk. This summer those guys are all in sequels or redos, so Iron Man (a Marvel property not to be confused with the Man of Steel, who belongs to DC and who’s taking a break this year) has the advantage of novelty in addition to a seasonal head start.

And “Iron Man,” directed by Jon Favreau (“Elf,” “Zathura”), has the advantage of being an unusually good superhero picture. Or at least — since it certainly has its problems — a superhero movie that’s good in unusual ways. The film benefits from a script (credited to Mark Fergus, Hawk Ostby, Art Marcum and Matt Holloway) that generally chooses clever dialogue over manufactured catchphrases and lumbering exposition, and also from a crackerjack cast that accepts the filmmakers’ invitation to do some real acting rather than just flex and glower and shriek for a paycheck.

There’s some of that too, of course. The hero must flex and furrow his brow; the bad guy must glower and scheme; the girl must shriek and fret. There should also be a skeptical but supportive friend. Those are the rules of the genre, as unbreakable as the pseudoscientific principles that explain everything (An arc reactor! Of course!) and the Law of the Bald Villain. In “Iron Man” it all plays out more or less as expected, from the trial-and-error building of the costume to the climactic showdown, with lots of flying, chasing and noisemaking in between. (I note that there is one sharp, subversive surprise right at the very end.)

What is less expected is that Mr. Favreau, somewhat in the manner of those sly studio-era craftsmen who kept their artistry close to the vest so the bosses wouldn’t confiscate it, wears the genre paradigm as a light cloak rather than a suit of iron. Instead of the tedious, moralizing, pop-Freudian origin story we often get in the first installments of comic-book-franchise movies — childhood trauma; identity crisis; longing for justice versus thirst for revenge; wake me up when the explosions start — “Iron Man” plunges us immediately into a world that crackles with character and incident.

It is not quite the real world, but it’s a bit closer than Gotham or Metropolis. We catch up with Tony Stark in dusty Afghanistan, where he is enjoying a Scotch on the rocks in the back of an armored American military vehicle. Tony is a media celebrity, a former M.I.T. whiz kid and the scion of a family whose company makes and sells high-tech weaponry. He’s also a bon vivant and an incorrigible playboy. On paper the character is completely preposterous, but since Tony is played by Robert Downey Jr., he’s almost immediately as authentic and familiar — as much fun, as much trouble — as your ex-boyfriend or your old college roommate. Yeah, that guy.

Tony’s skeptical friend (see above) is Rhodey, an Air Force officer played with good-humored sidekick weariness by Terrence Howard. The girl is one Pepper Potts (Gwyneth Paltrow, also in evident good humor), Tony’s smitten, ultracompetent assistant. His partner and sort-of mentor in Stark Enterprises is Obadiah Stane, played by Jeff Bridges with wit and exuberance and — spoiler alert! — a shaved head.

These are all first-rate actors, and Mr. Downey’s antic energy and emotional unpredictability bring out their agility and resourcefulness. Within the big, crowded movements of this pop symphony is a series of brilliant duets that sometimes seem to have the swing and spontaneity of jazz improvisation: Mr. Downey and Ms. Paltrow on the dance floor; Mr. Downey and Mr. Howard drinking sake on an airplane; Mr. Downey and Shaun Toub working on blueprints in a cave; Mr. Downey and Mr. Bridges sparring over a box of pizza.

Those moments are what you are likely to remember. The plot is serviceable, which is to say that it’s placed at the service of the actors (and the special-effects artists), who deftly toss it around and sometimes forget it’s there. One important twist seems glaringly arbitrary and unmotivated, but this lapse may represent an act of carefree sabotage rather than carelessness. You know this ostensibly shocking revelation is coming, and the writers know you know it’s coming, so why worry too much about whether it makes sense? Similarly, the patina of geopolitical relevance is worn thin and eventually discarded, and Tony’s crisis of conscience when he discovers what his weapons are being used for is more of a narrative convenience than a real moral theme.

All of which is to say that “Iron Man,” in spite of the heavy encumbrances Tony must wear when he turns into the title character, is distinguished by light touches and grace notes. The hardware is impressive, don’t get me wrong, but at these prices it had better be. If you’re throwing around a hundred million dollars and you have Batman and the Hulk on your tail, you had better be sure that the arc reactors are in good working order and that the gold-titanium alloy suit gleams like new and flies like a bird.

And everything works pretty well. But even dazzling, computer-aided visual effects, these days, are not so special. And who doesn’t have superpowers? Actually, Iron Man doesn’t; his heroism is all handicraft, elbow grease and applied intelligence. Those things account for the best parts of “Iron Man” as well.

“Iron Man” is rated PG-13 (Parents strongly cautioned). It has a lot of action violence, none of it especially graphic or gruesome. Also, Iron Man has sex, and not with the suit on. But not completely naked either.

IRON MAN

Opens on Friday nationwide.

Directed by Jon Favreau; written by Mark Fergus, Hawk Ostby, Art Marcum and Matt Holloway based on the character created by Stan Lee, Larry Lieber, Don Heck and Jack Kirby; director of photography, Matthew Libatique; edited by Dan Lebental; music by Ramin Djawadi; production designer, J. Michael Riva; visual effects by John Nelson; produced by Avi Arad and Kevin Feige; released by Paramount Pictures and Marvel Entertainment. Running time: 2 hours 6 minutes.

WITH: Robert Downey Jr., (Tony Stark), Terrence Howard (Rhodey), Jeff Bridges (Obadiah Stane), Shaun Toub (Yinsen) and Gwyneth Paltrow (Pepper Potts).

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كارگردان: جان فاوریو

نویسنده: مت هالووی، آرت مارکوم، هاوک آستبی، مارک فرگوس

بازیگران: رابرت داونی جونیور، گویینث پالترو، جف بریجز، ترنس هاوارد،

رنگ: رنگی

ژانر: : تریلر :: علمی-تخیلی :: درام :: حادثه ای :: اکشن :

درجه فیلم: PG-13

کشور: ایالات متحده

استودیو: پارامونت پیکچرز، مارول استودیوز

افتتاحیه: 2 می 2008

فروش هفته: 50.5

فروش کل: 177.13

مدت زمان فیلم: 126

امتياز منتقدان از 100: 78

خلاصه داستان: زمانی که تونی استارک متمول و صنعتگر پس از یک اتفاق بسیار خطرناک مجبور می‌شود که یک زره مسلح بسازد تصمیم می‌گیرد از چیزی که ساخته برای مبارزه با شر استفاده کند.

حاشيه هاي فيلم: هزینه تولید فیلم 140 میلیون دلار بوده است.

ویژه: فیلم تازه از سری کتاب‌های مصور مارول و شخصیت‌های ساخته است لی مشهور باز هم به یک منبع سودآور برای هالیوود تبدیل شده است. خیلی‌ها کار جان فاوریوی کارگردان را پسندیده‌اند و برای پخش قسمت بعدی از همین حالا برای سال 2010 برنامه‌ریزی می‌کنند. این فیلم صاحب اولین افتتاحیه صد میلیونی سال 2008 نیز هست که نشان از موفقیت بسیار بالای آن دارد.© cinemaema

IRON MAN :: OFFICIAL SITE :: IN THEATERS MAY 2ND, 2008

Iron Man (2008)

Iron Man (film) – Wikipedia, the free encyclopedia

What Happens in Vegas |اتفاقی که در وگاس افتاد …|2008

What Happens in Vegas (2008

Alternate Titles: Untitled Vegas Project, What Happens in Vegas…

Director: Tom Vaughan
Cast: Cameron Diaz, Ashton Kutcher

Movie Details

Title: What Happens in Vegas
Running Time: 99 Minutes
Status: Released
Country: United States
Genre: Comedy, Romantic Comedy

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“What Happens in Vegas,” one of those junky time-wasters that routinely pop up in movie theaters, won’t make you laugh much or at all. (Once was enough for me.) But if you know anything about the art or have ever marveled at how even the most generic of old B movies look pretty good (they were usually in focus, for starters), you may wonder how a major studio like 20th Century Fox could release something this crudely manufactured, with its graceless setups, unstable lensing and ghastly lighting. It also makes you wonder if executives at studios look at dailies, much less can hear the poetry of the English language.

The word dailies here refers to select material shot that day and viewed by certain crew members. Dailies can be projected as prints or watched on videotape or both, but are now often digital and displayed on monitors, which may affect quality control. Because, unless you’re David Fincher and a genius, or an obsessive-compulsive, it may be easier to ignore your mistakes when they look like specks on a computer monitor. Or as Robert Elswit, the cinematographer for Paul Thomas Anderson’s “There Will Be Blood,” which used traditional dailies, said on digitalproducer.com: “The other great thing about seeing film dailies is that you can’t kid yourself about focus and all the other technical issues that can come back to bite you.”

This digression may seem off the point of “What Happens in Vegas,” but because its director, Tom Vaughan, brings nothing of interest to the movie, including filmmaking, there isn’t anything to say other than to note its insulting ugliness and ineptitude. The badly matched Cameron Diaz and Ashton Kutcher mug wildly, waving their limbs like upturned beetles. Ms. Diaz is particularly ill served by the material and the production; she’s harshly, at times brutally, lighted and often unflatteringly costumed. It’s disheartening that Ms. Diaz doesn’t seem to realize that there’s no upside to a role that strips away her dignity even as it peels off her clothes, especially when she’s playing the shrew. It’s no wonder Mr. Kutcher looks so relaxed.

Though it’s more sitcom than romcom, “What Happens in Vegas” recycles a plot — a separated couple reunite — that will be familiar to anyone who’s had the pleasure of watching films like “The Awful Truth” and “It Happened One Night.” The philosopher Stanley Cavell anointed this subgenre of 1930s and 1940s delights comedies of remarriage, stories driven by the effort to get the couple back together and involving what he terms overcoming skepticism. The couple aren’t sure if reuniting is a good idea but do so anyway, as when Rosalind Russell warily eyeballs Cary Grant at the end of “His Girl Friday” and says, right after he plants a wet one: “I’m just a fool. That’s what I am. I know what it’s going to be like.”

She knows, and we do too, having been given a glimpse of that happily ever after in the rat-a-tat of the couple’s wisecracking romancing. There are no wisecracks in Dana Fox’s screenplay for “What Happens in Vegas,” just insults, yucky yuks (“I threw up in my purse”) and exposition. The couple, strangers who marry during a Vegas drunk and stay together to hold on to a fat casino payout, enter without a shared history or much personality. They learn to live as a couple through mutual abuse and pranks: he removes the toilet seat, and she solicits some “sluts” to tempt him into contract-breaking infidelity. The cynicism about human beings (us included) reeks as much as the filmmaking.

“What Happens in Vegas” is rated PG-13 (Parents strongly cautioned). May induce headaches.

WHAT HAPPENS IN VEGAS

Opens on Friday nationwide.

Directed by Tom Vaughan; written by Dana Fox; director of photography, Matthew Leonetti; edited by Matthew Friedman; music by Christophe Beck; production designer, Stuart Wurtzel; produced by Michael Aguilar, Shawn Levy, Jimmy Miller and Arnon Milchan; released by 20th Century Fox. Running time: 1 hour 39 minutes.

WITH: Cameron Diaz (Joy McNally), Ashton Kutcher (Jack Fuller), Rob Corddry (Steve Hader), Treat Williams (Jack Fuller Sr.), Dennis Miller (Judge Whopper) and Lake Bell (Tipper).

Copyright © New York Times | iran-buy.com | kingcomputer.ws

كارگردان: تام وان

نویسنده: دانا فاکس

بازیگران: کامرون دیاز، اشتون کاچر، دنیس فارینا

رنگ: رنگی

ژانر: : عشقی :: کمدی :

درجه فیلم: PG-13

کشور: ایالات متحده

استودیو: فاکس قرن بیستم

افتتاحیه: 9 می 2008

فروش هفته: 20

فروش کل: 20

مدت زمان فیلم: 99

امتياز منتقدان از 100: 36

جملات تبليغاتي: شانس بیارید. ©cinemaema

WHAT HAPPENS IN VEGAS Starring Ashton Kutcher and Cameron Diaz

What Happens in Vegas… (2008)

What Happens in Vegas… – Wikipedia, the free encyclopedia

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Made of Honor |از جنس نجابت| 2008

Made of Honor (2008

Alternate Titles: Man Made, Maid of Honor

Director: Paul Weiland

Cast: Patrick Dempsey, Michelle Monaghan, Beau Garrett

Movie Details

Title: Made of Honor
Running Time: 100 Minutes
Status: Released
Country: United States
Genre: Romantic Comedy

The romantic comedy “Made of Honor” adds tart satirical flavors to a cotton-candy formula without sabotaging the sugar rush. Directed by Paul Weiland (“City Slickers II”), it begins on a nasty note when Tom (Patrick Dempsey), the putative Mr. Right in this taming-of-the-rogue fable, is introduced as a college boy wearing a hideous Bill Clinton mask and drunkenly bellowing for his Monica at a Halloween bacchanal.

The movie then skips ahead 10 years to discover this obnoxious Lothario living high in New York City off the millions he has made from his invention of the paper-cup sleeve. When the latest bimbo to grace his bed wonders the morning after their hookup if she will see him that evening, he snaps: “I don’t do back-to-backs. Two nights in a row; I don’t do that.” He also lives by the 24-hour rule: Never call a date until a full day has passed.

The apple doesn’t fall far from the tree, as they say. Tom’s wealthy father (Sydney Pollack) has been married and divorced so many times that he can’t recall whether his new wife is his sixth or his seventh. He is shown dressed up and heading toward the altar while frantically negotiating a pre-nup by cellphone with his bride-to-be, who circles the block in a limousine with her lawyer.

The only sign that Tom has a heart is his strictly platonic friendship with Hannah (Michelle Monaghan), a fresh-faced director of acquisitions at the Metropolitan Museum of Art whom he has known since college. The two are such good pals that when Hannah tells him she has to go to Scotland for six weeks, he whines, “How can I live without you?”

Hannah returns from Scotland aglow over her engagement to Colin (Kevin McKidd), a rich, handsome aristocrat with a brogue who galloped to her rescue when he spied her stranded in her car at a cattle crossing. Suddenly Tom realizes Hannah is the love of his life. But what can he do? He decides he should keep his mouth shut and strategize.

When Hannah asks him to be maid of honor at her wedding in one of Colin’s several castles (his family has one for each season), Tom agrees in the hope that he can demonstrate how much he loves her and win her back. That many assume his role means Tom must be gay makes for some wan humor.

“Made of Honor” scrambles the plotlines of “My Best Friend’s Wedding” and “Sweet Home Alabama” and changes the locales. It has gorgeous picture-postcard views of Manhattan and the Scottish countryside. It also ups the fantasy quotient. Nowadays it’s not enough for the designated princess in a romantic comedy to have one Prince Charming. She must have two to choose from.

Ms. Monaghan is an endearing screen presence, but her character has no personality. The movie can’t begin to explain the unlikely friendship of Tom and Hannah, for there is no rhyme or reason to it. If she were as bright as she is supposed to be, she wouldn’t tolerate his churlish treatment of other women. But she doesn’t seem to notice.

Mr. Dempsey, who at 42 is too old for his role, does his best to infuse Tom with some boyish charm. Ms. Monaghan’s aura of fundamental niceness is the main reason that “Made of Honor” retains enough sweetness to satisfy the cotton-candy addicts. For true believers in fairy tales, no romantic fantasy is too extravagant if the heroine is a sweetheart. The rest of us can sit there and roll our eyes.

“Made of Honor” is rated PG-13 (Parents strongly cautioned). It has sexual situations and some strong language.

MADE OF HONOR

Opens on Friday nationwide.

Directed by Paul Weiland; written by Adam Sztykiel, Deborah Kaplan and Harry Elfont, based on a story by Mr. Sztykiel; director of photography, Tony Pierce-Roberts; edited by Richard Marks; music by Rupert Gregson-Williams; production designer, Kalina Ivanov; produced by Neal H. Moritz; released by Columbia Pictures. Running time: 1 hour 41 minutes.

WITH: Patrick Dempsey (Tom), Michelle Monaghan (Hannah), Kevin McKidd (Colin), Kathleen Quinlan (Joan) and Sydney Pollack (Thomas Sr.).

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كارگردان: پل وایلند

نویسنده: دبورا کاپلان، هری الفونت

بازیگران: پاتریک دمپسی، میشله موناهان، سیدنی پولاک

رنگ: رنگی

ژانر: : تریلر :: علمی-تخیلی :: درام :: حادثه ای :: اکشن :

درجه فیلم: PG-13

کشور: ایالات متحده

استودیو: کلمبیا پیکچرز

افتتاحیه: 2 می 2008

فروش هفته: 15.5

فروش کل: 15.5

مدت زمان فیلم: 101

امتياز منتقدان از 100: 37

جملات تبليغاتي: یک کمدی بدون عروسی!

خلاصه داستان: مردی که عاشق یک دختر نامزد‌دار است باید پیش از آن که دختر از او بخواهد ساقدوشش شود تقاضای ازدواج بدهد.

حاشيه هاي فيلم: هزینه تولید فیلم 40 میلیون دلار بوده است.© cinemaema

Made Of Honor – Official Site

Made of Honor (2008)

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Drillbit Taylor |دریلبیت تیلور| 2008

Drillbit Taylor (2008

Director: Steven Brill
Cast: Owen Wilson, Leslie Mann, Nate Hartley, Troy Gentile

Movie Details

Title: Drillbit Taylor
Running Time: 102 Minutes
Status: Released
Country: United States
Genre: Teen, Comedy

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Protector With Big Shtick for 3 High School Nerds

At the moment it seems as if no major Hollywood studio will release a comedy without Judd Apatow’s name somewhere on the label. This is perhaps overdue vindication for a man who once languished making brilliant television shows that too few people wanted to watch, but it also carries risks of backlash and brand dilution.

As an admirer, mostly, of Mr. Apatow’s oeuvre, I was inclined to believe that “Drillbit Taylor” was a cheap knockoff, that the producer credit Mr. Apatow receives at the beginning was akin to the Rolex insignia on the watch I bought for $20 on Canal Street a while back. But it makes more sense to think of this dumb little picture, with Mr. Apatow’s wife, Leslie Mann, in a supporting role, and Seth Rogen, one of his alter egos, sharing credit for story and screenplay, as part of the Apatow discount line. “You get what you pay for,” the tag line on the advertisement says. I saw it free, and I still feel cheated.

The premise is a mélange of familiar and somewhat more esoteric elements: the television sitcom “Freaks and Geeks,” of which Mr. Apatow was an executive producer; the 1980 high school drama “My Bodyguard”; Jean Renoir’s “Boudu Saved From Drowning” (or at least Paul Mazursky’s remake, “Down and Out in Beverly Hills”). Worthy influences all. But “Drillbit Taylor” is so ploddingly directed (by Steven Brill) and lazily written that it adds up to little more than a diffuse collection of second-hand gags and jokes, few of them funny.

Three nerdy high school freshmen — a fat one (Troy Gentile), a tall one with glasses (Nate Hartley) and a shrimpy one with braces (David Dorfman) — find their pathetic efforts at coolness met with abuse from a pair of bullies. These are not just run-of-the-mill jocks but full-fledged sociopaths, in particular the one called Filkins (Alex Frost). To fight back the boys enlist the help of the title character (Owen Wilson), a good-natured homeless man who claims to be veteran of the Army Special Forces.

Various entirely predictable, rarely amusing things happen, including a lot of punches to the face and groin. The only reliably funny thing in the movie is Mr. Wilson’s zoned-out, improvisational riffing, but his oddball comic intensity is shamelessly exploited rather than given material on which to feed. This is too often the way lazy filmmakers deal with gifted screen comedians. Point the camera at Mr. Wilson (or Will Ferrell or Ben Stiller or Jim Carrey), write a check and figure that the shtick will carry a movie at least as far as a decent opening-weekend gross. That’s a waste of talent, and “Drillbit Taylor” is a waste of time.

“Drillbit Taylor” is rated PG-13 (Parents strongly cautioned). It has some puerile sex jokes and drug references.

DRILLBIT TAYLOR

Opens on Friday nationwide.

Directed by Steven Brill; written by Kristofor Brown and Seth Rogen, based on a story by Edmond Dantes, Mr. Brown and Mr. Rogen; director of photography, Fred Murphy; edited by Thomas J. Nordberg; music by Christophe Beck; production designer, Jackson De Govia; produced by Judd Apatow, Susan Arnold and Donna Arkoff Roth; released by Paramount Pictures. Running time: 1 hour 42 minutes.

WITH: Owen Wilson (Drillbit Taylor), Leslie Mann (Lisa), Danny McBride (Don), Josh Peck (Ronnie), David Dorfman (Emmit), Troy Gentile (Ryan), Nate Hartley (Wade) and Alex Frost (Filkins).

كارگردان: استیو بریل

نویسنده: کریس براون، سث روگن

بازیگران: اوئن ویلسون، جاش پک، الکس فراست

رنگ: رنگی

ژانر:

درجه فیلم: PG-13

کشور: ایالات متحده

استودیو: پارامونت پیکچرز

افتتاحیه: 21 مارس 2008

فروش هفته: 2.07

فروش کل: 28.5

مدت زمان فیلم: 102

امتياز منتقدان از 100: 41

جملات تبليغاتي: همانقدر که پول می‌دهید آش می‌خورید.

خلاصه داستان: سه پسر نوجوان یک بادی‌گارد ارزان استخدام می‌کنند تا از آن‌ها در محل بازی‌شان محافظت کند.

حاشيه هاي فيلم: بودجه فیلم تقریبا 40 میلیون دلار بوده است.C cinemaema

Owen Wilson in Drillbit Taylor | Official Movie Site | In Theaters …

Drillbit Taylor (2008)

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Nim’s Island |جزیره نیم| 2008

Nim’s Island (2008

Director: Mark Levin
Cast: Jodie Foster, Abigail Breslin, Gerard Butler
Rating: PG

Movie Details

Title: Nim’s Island
Running Time: 95 Minutes
Status: Released
Country: United States
Genre: Adaptation, Comedy, Adventure

If “Nim’s Island” were anything but a children’s movie, the casting genius who suggested Jodie Foster as a potential love interest for Gerard Butler would be looking for a new occupation. But miscasting isn’t the only problem with this sweet but ho-hum adaptation of Wendy Orr’s novel, a comedy-adventure that never quite finds its tone.

The island in question lies deep in the South Pacific (beautifully played by the Gold Coast of Australia) and is home to Nim (Abigail Breslin) and her father, Jack (Mr. Butler). Motherless and near-fatherless (Jack spends his days studying plankton), Nim amuses herself with a stable of performing pets and the literary adventures of an Indiana Jones-style hero named Alex Rover. When Jack is trapped by a storm at sea, and Nim sends an e-mail message to Rover for help, she’s unaware that the recipient is his agoraphobic creator, Alexandra (Ms. Foster).

Playing yet another tightly wound woman, Ms. Foster makes a slapstick meal of rushing to Nim’s aid. Yet this is a story about hiding from the world — whether on a remote island or inside your head — and the film’s sensitive notes are too often jarred by its attempts to score cheap comic points from sea lion flatulence and obese Australian tourists. The message that lifelong connections can be forged through books is a lovely one; too bad it’s obscured by flying lizards.

NIM’S ISLAND

Opens on Friday nationwide.

Directed by Mark Levin and Jennifer Flackett; written by Mr. Levin, Ms. Flackett, Paula Mazur and Joseph Kwong, based on the novel by Wendy Orr; director of photography, Stuart Dryburgh; edited by Stuart Levy; production designer, Barry Robison; produced by Ms. Mazur; released by Fox Walden. Running time: 1 hour 36 minutes.

WITH: Abigail Breslin (Nim), Jodie Foster (Alexandra Rover) and Gerard Butler (Jack/Alex Rover).

Copyright © New York Times | iran-buy.com | kingcomputer.ws

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كارگردان: مارک لوین، جنیفر فلاکت

نویسنده: مارک لوین، جنیفر فلاکت

بازیگران: جودی فاستر، ابیگیل برسلین، جرارد باتلر

رنگ: رنگی

ژانر: : کمدی :: خانواگی :: انیمیشن :

درجه فیلم: PG

فروش هفته: 9

فروش کل: 25.28

مدت زمان فیلم: 96

امتياز منتقدان از 100: 54

حاشيه هاي فيلم: هزینه تولید فیلم 37 میلیون دلار بوده است. ©cinemaema

Nims Island : In Theatres April 4, 2008

Nim’s Island (2008)

Nim’s Island – Wikipedia, the free encyclopedia

Baby Mama |مادر بچه| 2008

Baby Mama (2008)

Director: Michael McCullers
Cast: Tina Fey, Amy Poehler, Sigourney Weaver, Dax Shepard

Movie Details

Title: Baby Mama
Running Time: 99 Minutes
Status: Released
Country: United States
Genre: Comedy

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• The Odd Couple
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In the new comedy “Baby Mama” Tina Fey plays a 37-year-old single career woman who, desperate for a baby, hires a womb of her own in the dizzy, slap-happy form of Amy Poehler. The film never comes fully to term, as it were: the visual style is sitcom functional, and even the zippiest jokes fall flat because of poor timing. But, much like the prickly, talented Ms. Fey, it pulls you in with a provocative and, at least in current American movies, unusual mix of female intelligence, awkwardness and chilled-to-the-bone mean.

Ms. Fey is of course best known for working in television, on “Saturday Night Live” and “30 Rock.” Until now her biggest movie role was the uncomfortable but earnest high school math teacher Ms. Norbury in the comedy “Mean Girls,” which she also wrote. (“You all have got to stop calling each other sluts and whores,” Ms. Norbury warns the mean girls and their female prey. “It just makes it O.K. for guys to call you sluts and whores.”) Like a lot of comedies “Mean Girls” has its devilish cake and eats it too, wagging an unpersuasive finger at the very cruelty it skillfully deploys. Ms. Fey may not want girls to call one another sluts, but she’s all too happy to call them that herself.

There’s often a degree of sadism in this kind of comic one-two punch, and while some performers appear to direct the cruelty inward — think of Jerry Lewis and Ben Stiller wringing squirmy, uneasy laughs out of the humiliations rained down on their characters — that doesn’t seem to be Ms. Fey’s style. Certainly it isn’t what she’s called on to do in “Baby Mama,” in which she plays a snappy, sardonic individualist who, much like Ms. Fey herself, works in a male-dominated industry (here, as an executive in an organic grocery chain similar to Whole Foods) and favors the kind of sexy librarian look (high-heeled shoes, low-cut blouses and dark-frame glasses) that signals there’s a hot body to go along with that feverishly smart brain.

“Baby Mama,” which was written and directed by the newcomer Michael McCullers, yet another “Saturday Night Live” alumnus, opens with Ms. Fey’s character, Kate Holbrook, eyeballing babies like a hungry wolf. Everyone has a pitter-pattering Tater Tot but Kate, who lives alone in her generically appointed Philadelphia apartment (the film was also shot in New York) and has few contacts outside her job, extended family and wisecracking doorman, Oscar (Romany Malco). Basically she’s Rhoda with thinner thighs, which I guess means that she’s Mary Richards. But this being 2008 and not the women’s-liberated 1970s, it isn’t enough for Kate to be a swinging single: she wants a baby and she wants it now. Enter Angie Ostrowiski (Ms. Poehler).

At 36 Ms. Poehler is at least 10 years too old for the role, as the softly focused close-ups suggest, but she’s a pip. She’s the ball that bounces against Ms. Fey’s formidable wall, a nonstop, joyfully watchable whirligig. Drawn in broad, often crude strokes, Angie is dumber than the usual dumb blonde so beloved of the movies largely because she’s also coded as white trash, a kind of urban Daisy Mae, complete with short shorts, wads of chewing gum and a tag-along buffoon, Carl (Dax Shepard). If Angie works at all, it’s because Ms. Poehler puts a sweet spin on her character’s gaffes, whether she’s yelping in horror at the unfamiliar taste of water or squatting in a sink when nature makes an untimely call.

There’s more, though not much, mostly some amusing nonsense from Steve Martin as Kate’s boss, a belligerently New Agey entrepreneur with an unkind ponytail. Greg Kinnear also shows up now and again as Kate’s inevitable love interest, perhaps so things don’t overheat when Angie moves in. Not that anyone need worry about this female odd couple, given that Ms. Fey, who doesn’t have the acting chops that might invest her character with some personality, has been forced to play it straight and narrow. The close-up medium of television is more forgiving of those comics who tend to stand in the middle of the frame as if they had just been planted. But unlike Jerry Seinfeld and Larry David, Ms. Fey doesn’t even have a funny voice.

That’s too bad, because she is genuinely funny. And if there’s anything the movies could use it is funny women, especially those who earn laughs by keeping their clothes on and their dignity (more or less) intact. Under the old Hollywood system, the studio boss might have ordered up a dance coach for Ms. Fey, maybe a few lessons on how to walk across a set or move her upper body once in a while. She might not have been able to rip loose as a writer-performer, which makes the idea of her developing a simultaneous on-and-off-screen presence all the more tantalizing. Real funny women — Mae West, Elaine May — come along every few decades, so the timing seems right. But the clock is ticking.

“Baby Mama” is rated PG-13 (Parents strongly cautioned). Some gentle raunch.

BABY MAMA

Opens on Friday nationwide.

Written and directed by Michael McCullers; director of photography, Daryn Okada; edited by Bruce Green; music by Jeff Richmond; production designer, Jess Gonchor; produced by Lorne Michaels and John Goldwyn; released by Universal Pictures. Running time: 1 hour 36 minutes.

WITH: Tina Fey (Kate), Amy Poehler (Angie), Greg Kinnear (Rob), Dax Shepard (Carl), Romany Malco (Oscar), Steve Martin (Barry), Maura Tierney (Caroline), Holland Taylor (Rose) and Sigourney Weaver (Chaffee Bicknell).

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كارگردان: مایکل مک‌کالرز

نویسنده: مایکل مک‌کالرز

بازیگران: تینا فی، امی پولر، گرگ کینیر، سیگورنی ویور

رنگ: رنگی

ژانر: : کمدی :

درجه فیلم: PG-13

کشور: ایالات متحده

استودیو: یونیورسال پیکچرز

افتتاحیه: 25 آوریل 2008

فروش هفته: 10.33

فروش کل: 32.33

مدت زمان فیلم: 96

امتياز منتقدان از 100: 54

جملات تبليغاتي: می‌شه تخم‌مرغ‌هات رو … بذاری توی این سبد؟ © cinemaema

Baby Mama (2008

Baby Mama – Now Playing

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Baby Mama (film) – Wikipedia, the free encyclopedia

Step Up 2 the Streets |پیش رفتن 2 خیابان‌ها | 2008

Step Up 2 the Streets (2008

Alternate Title: Step Up 2

Director: Jon Chu
Cast: Robert Hoffman, Briana Evigan, Telisha Shaw, Will Kemp, Tony Devon
Rating: PG-13

Movie Details

Title: Step Up 2 the Streets
Running Time: 97 Minutes
Status: Released
Country: United States
Genre: Drama, Sequel, Dance

“Step Up 2 the Streets” is an earnest sequel to the 2006 cornball musical drama “Step Up,” mixing new characters into the original’s setting, the neighborhoods surrounding the Maryland School of the Arts in Baltimore.

Like its predecessor, this follow-up takes place in a gritty neighborhood, has a white lead, posits a universe where racial and class differences are minor obstacles to fun and pretends its clichés aren’t clichés.The heroine of this one is Andie (Briana Evigan), an orphaned girl and a member of the 410, a notorious crew that stages musical pranks in public places and competes in dance contests at a club called the Streets. Andie auditions for admission to the school and gets in on the good word of its star dancer, the handsome, blond Chase (Robert Hoffman), who saw her dance at the club. Andie’s commitment to her new school gets her kicked out of her old crew, but no matter. She forms a new crew with Chase, who fantasizes about winning the grand prize in a contest at the Streets.

When Andie and Chase, both of whom are white, hold forth on the values of the Streets and barge into the club demanding that its mostly nonwhite patrons give them respect and a shot at the title, the movie is writing socially aware checks that its trite, fake-inspirational story can’t cash. This willfully clueless attitude about race and class — factors examined in the recent, vastly superior “How She Move” — is irritating.

But there are saving graces, notably exuberant musical sequences (the best of which depicts couples salsa-dancing at a backyard barbecue) and a likable supporting cast, including Adam G. Sevani as Moose, a diminutive, goofy but preternaturally confident dancer who might be the baddest nerd in movie history.

“Step Up 2 the Streets” is rated PG-13 (Parents strongly cautioned). It includes profanity and one violent scene.

STEP UP 2 THE STREETS

Opens on Thursday nationwide.

Directed by Jon M. Chu; written by Toni Ann Johnson and Karen Barna, based on characters created by Duane Adler; director of photography, Max Malkin; edited by Andrew Marcus and Nicholas Erasmus; music by Aaron Zigman; production designer, Devorah Herbert; choreography by Jamal Sims, Nadine (Hi Hat) Ruffin and Dave Scott; produced by Patrick Wachsberger, Erik Feig, Adam Shankman and Jennifer Gibgot; released by Touchstone Pictures. Running time: 1 hour 38 minutes.

WITH: Briana Evigan (Andie), Robert Hoffman (Chase), Adam G. Sevani (Moose), Cassie Ventura (Sophie), Danielle Polanco (Missy) and Christopher Scott (Hair).

Copyright 2008 New york Times © iran-buy.com | kingcomputer.ws

كارگردان: جان ام چو

نویسنده: تونی آن جانسون، کارن بارنا

بازیگران: برایانا اویگان، رابرت هافمن، ویل کمپ

رنگ: رنگی

ژانر: : عشقی :: موزیکال :: درام :

درجه فیلم: PG-13

کشور: ایالات متحده

استودیو: تاچ‌استون پیکچرز

افتتاحیه: 14 فوریه 2008

فروش هفته: 9.79

فروش کل: 41.42

مدت زمان فیلم: 98

امتياز منتقدان از 100: 50

جملات تبليغاتي: این آن‌جایی که شما می‌آیید نیست. این آن جایی است که شما در آن هستید.

خلاصه داستان: بارقه‌هایی از عشق میان دو محصل مدرسه رقص مریلند اسکول با دو زمینه متفاوت ایجاد می‌شود.©cinemaema

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Official website

Step Up 2 the Streets (200

Step Up 2 the Streets – Wikipedia, the free encyclopedia