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).

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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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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

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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

88Minutes |دقیقه88 | 2008

88

Minutes

2008

Director: Jon Avnet
Cast: Al Pacino, Alicia Witt, Leelee Sobieski, Neal McDonough

Movie Details

Title: 88 Minutes
Running Time: 107 Minutes
Status: Released
Country: United States, Germany
Genre: Drama, Thriller

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The execrable “88 Minutes” has many of the main ingredients for a camp lollapalooza, notably one of those unfortunate Al Pacino star turns that make you wonder if a career intervention is even possible at this stage. Certainly his startling appearance — a dusky orange tan that suggests a charbroiled George Hamilton and an elevated pouf of hair that appears to have been engineered to put Mr. Pacino within vertical range of his female co-stars — suggests a level of vanity that might make an intervention difficult. Vanity is a star’s prerogative, but it can be the portal to inescapable self-parody, as the late-period Joan Crawford attests.

Although it’s often laugh-out-loud laughably bad, “88 Minutes” is mostly just a slog. The subject doesn’t help: it opens with an intricately choreographed murder that finds a young Seattle woman trussed up like a hog for slaughter. Cut to the present. The murderer has been caught, and the man who helped put the villain on death row is Dr. Jack Gramm (Mr. Pacino), a forensic psychiatrist and professor with young Amazon students (Alicia Witt and Leelee Sobieski) and a sympathetic foil with a badge (William Forsythe). Dr. Jack fields lots of calls from his assistant (Amy Brenneman), but one day he receives a ring-a-ding from someone who says that he has 88 minutes to live … then 82 minutes … and so on.

Movies that make a ticking clock part of the story run the risk that viewers may start checking their watches, and so it is with this one, which seems to slow down the longer it goes, largely because it runs an interminable 105 minutes and not a tantalizing 88. During what’s meant to be a short time, the plot complications amass, as do incoherent camera setups and yet more elaborately trussed-up female bodies. A few outré touches help pass the tick-tock, tick-tock, including the dissonant casting of the spectral Deborah Kara Unger as a college dean and the production design for Dr. Jack’s digs, a Sharper Image bachelor pad with a wine collection and a Walther pistol, a brand favored by James Bond.

Outside of Ms. Unger, who delivers one of her singular and eminently watchable narcoleptic turns (and seems to have actually done a little of her own stunt work), the performances are risible. The usually appealing Ms. Witt and Ms. Sobieski fare less well than Ms. Unger does, largely because one is forced to vamp Dr. Jack while the other assumes a naughtier role, and in leather pants, no less. Mr. Pacino, who spends much of his screen time talking and occasionally shouting into a cellphone, barely seems to register that he’s sharing the screen with any other actors, perhaps because in a very fundamental way he isn’t. There’s nothing to be said about Jon Avnet’s direction except that he sure does like aerial shots.

In fact, there’s nothing at all left to be said about this idiotic flick. But here’s a thought: Misogyny aside, the attention shown to the display of dead bodies in “88 Minutes” offers continued evidence that cinema’s fascination with human locomotion during the art’s first 50 years — evident in early motion studies, in the gymnastics of the silent-movie clowns and in musicals — seems to have been supplanted in the last 50 by a fascination with rigor mortis. The touchstone for this shift is probably Hitchcock’s masterpiece “Psycho,” in which the camera is more vibrantly alive than any of the characters, including that dead blonde in the shower. She makes such a beautiful corpse it’s no wonder that we keep asking for more.

“88 Minutes” is rated R (Under 17 requires accompanying parent or adult guardian). Murder, torture, naked women — the usual.

88 MINUTES

Opens on Friday nationwide.

Directed by Jon Avnet; written by Gary Scott Thompson; director of photography, Denis Lenoir; edited by Peter Berger; music by Edward Shearmur; production designer, Tracey Gallacher; produced by Mr. Avnet, Mr. Thompson and Randall Emmett; released by TriStar Pictures. Running time: 1 hour 45 minutes.

WITH: Al Pacino (Jack Gramm), Alicia Witt (Kim Cummings), Leelee Sobieski (Lauren Douglas), Amy Brenneman (Shelly Barnes), Deborah Kara Unger (Carol Lynn Johnson), Benjamin McKenzie (Mike Stempt), William Forsythe (Frank Parks) and Neal McDonough (Jon Forster).

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كارگردان: جان اونت

نویسنده: گری اسکات تامپسون

بازیگران: آل پاچینو، آلیشیا ویت، بنجامین مکنزی

رنگ: رنگی

ژانر: : درام :: جنایی :

درجه فیلم: R

کشور: ایالات متحده/آلمان

استودیو: ترای‌استار پیکچرز

افتتاحیه: 18 آوریل 2008

فروش هفته: 6.8

فروش کل: 6.8

مدت زمان فیلم: 108

امتياز منتقدان از 100: 17

جملات تبليغاتي: او 88 دقیق وقت دارد تا معمای یک قتل را حل کند. مال خودش.

خلاصه داستان: در سیاتل یک کاراگاه زبده و استاد دانشگاه تهدید به مرگ می‌شود. او فقط 88 دقیقه وقت دارد معما را حل کند. © cinemaema

88 Minutes – Official Site

88 Minutes (2007)

88 Minutes – Wikipedia, the free encyclopedia

The Forbidden Kingdom |قلمرو ممنوعه| 2008

The Forbidden Kingdom (2008)

Alternate Titles: King of Kung Fu, Untitled (Revolution Studios/Jackie Chan/Jet Li action film)

Director: Rob Minkoff
Cast: Jackie Chan, Jet Li, Liu Yifei, Michael Angarano
Rating: PG-13 (Violence)

Movie Details

Title: The Forbidden Kingdom
Running Time: 105 Minutes
Status: Released
Country: United States
Genre: Adventure, Action, Sci-Fi

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At first glance “Forbidden Kingdom,” the first movie to unite the martial arts action stars Jackie Chan and Jet Li, might be mistaken for a pastiche of its genre. Its main character, a Boston teenager named Jason (Michael Angarano), is obsessed with kung fu cinema, and the ways of modern Hollywood might lead you to expect the filmmakers to mock, travesty or wink at this obsession.

Instead they — the screenwriter John Fusco and the director Rob Minkoff — clearly share it. And though it is an English-language film (albeit a heavily accented one), “Forbidden Kingdom” is a faithful and disarmingly earnest attempt to honor some venerable and popular Chinese cinematic traditions.

These include a plot that is at times so convoluted as to teeter on the brink of incomprehensibility, a heavy brocade of martial honor and blurry mysticism, and above all a lot of wildly inventive fighting. The battles were choreographed by Yuen Wo Ping, one of the supreme masters of the art, and shot by Peter Pau, whose credits as a cinematographer include “Crouching Tiger, Hidden Dragon.”

Filmed on Chinese locations and studio sets, the movie shows the lavish artificiality that is, in the currently booming Chinese film industry, a sign of authenticity. Mr. Chan made his name in scruffier, scrappier Hong Kong entertainments, but as he has aged into an international superstar, he has come to seem at home just about everywhere. Here he plays two roles: an elderly junk dealer in 21st-century Boston and an itinerant fighter, specializing in the “drunken fist” style of combat, in a mythic ancient China.

Mr. Li also plays two parts, both in the mythic past: the mischievous Monkey King (who uses — what else? — monkey kung fu fighting techniques) and a monk. After an inconclusive and thrilling battle — surely the high point of the movie — the monk and Mr. Chan’s character join forces to help Jason, who has been transported to their world by a magic staff that once belonged to the Monkey King.

An evil warlord (Collin Chou) stands in their way, as does a white-haired witch (Li Bing Bing). Accompanying the monk, the drunk and the kid from Boston is a young woman named Golden Sparrow (Liu Yifei), a fearsome warrior in her own right, who seeks to avenge the death of her parents.

There is both a surfeit of motives and a dearth of momentum driving the narrative of “The Forbidden Kingdom,” which often drags in the expository sections between set pieces. But many of the set pieces are dazzling, even if, by now, audiences may be a bit jaded by high-flying wire work and artful blends of computer-generated imagery and traditional production design.

Still, the film works well enough as a primer for latecomers and a fix for insatiable martial arts lovers. If you’ve never seen a movie like this, it might satisfy your curiosity; if you can’t get enough of this kind of movie, nothing I say about it would keep you away.

“The Forbidden Kingdom” is rated PG-13 (Parents strongly cautioned). It has many action scenes, some of them fairly brutal.

FORBIDDEN KINGDOM

Opens on Friday nationwide.

Directed by Rob Minkoff; written by John Fusco; director of photography, Peter Pau; edited by Eric Strand; music by David Buckley; action choreography by Yuen Wo Ping; production designer, Bill Brzeski; produced by Casey Silver; released by Lionsgate. Running time: 1 hour 53 minutes.

WITH: Jackie Chan (Lu Yan/Old Hop), Jet Li (Silent Monk/Monkey King), Collin Chou (Jade Warlord), Liu Yifei (Golden Sparrow), Li Bing Bing (Ni Chang) and Michael Angarano (Jason Tripitikas).

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كارگردان: راب مینکوف

نویسنده: جان فوسکو، چنگ ان وو

بازیگران: جکی چان، جت لی، مایکل آنگارانو، لی بینگ بینگ

رنگ: رنگی

ژانر: : حادثه ای :: اکشن :

درجه فیلم: PG-13

کشور: ایالات متحده

استودیو: لایونزگیت

افتتاحیه: 18 آوریل 2008

فروش هفته: 20.87

فروش کل: 20.87

مدت زمان فیلم: 113

امتياز منتقدان از 100: 57

جملات تبليغاتي: راه نامطمئن است. قلعه ناشناخته. سفر باورنکردنی.

خلاصه داستان: سفر یک نوجوان آمریکایی کونگ‌فو کار به چین، موجب می‌شود پایش به گروهی از رزمی‌کاران برای نجات دادن یک نفر باز شود. © cinemaema

The Forbidden Kingdom

Apple – Trailers – Forbidden Kingdom

The Forbidden Kingdom – Wikipedia, the free encyclopedia

Forgetting Sarah Marshall |فراموش کردن سارا مارشال |2008

Forgetting Sarah Marshall (2008)

Director: Nicholas Stoller
Cast: Jason Segel, Kristen Bell, Mila Kunis

Movie Details

Title: Forgetting Sarah Marshall
Running Time: 112 Minutes
Status: Released
Country: United States
Genre: Romantic Comedy

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One way to enjoy “Forgetting Sarah Marshall” — at least vicariously — is to think of the movie as the Judd Apatow Stock Company’s Hawaiian vacation. Those pasty-faced funny guys have been working awfully hard over the past few years, so who can begrudge them a few weeks of surf, sun, babes and fun? I don’t know if Mr. Apatow himself, a producer of this movie (the director is the first-timer Nicholas Stoller), went along for the trip. The members of his troupe who did managed to squeeze in enough work to placate the I.R.S., and also that segment of the audience, myself included, whose appetite for naturally sweetened raunch has not yet abated.

Jason Segel, author of the film’s screenplay and a fixture in Mr. Apatow’s universe since the television series “Freaks and Geeks,” takes his allotted turn as the romantic lead, which is to say as a slobby, goofy but basically decent fellow navigating the uncertain waters of modern sexual ethics. He does so at an island resort where the evening sun bathes the palm trees in honeyed light and imparts a gemlike sparkle to the Pacific Ocean.

Supporting Mr. Segel are some of the usual gang — Jonah Hill as a waiter, Paul Rudd as a surfing instructor, Bill Hader as the brother back home in Los Angeles — and a few newish dudes (notably Jack McBrayer and Da’vone McDonald) stepping up to deliver YouTube-ready riffs on matters of eros and pop culture. (Politics, the actual YouTube obsession of the moment, doesn’t really exist in Mr. Apatow’s world.)

Not that everything is breezy and casual. “Forgetting Sarah Marshall” is, after all, a breakup comedy, and its overall jollity is streaked with some raw emotions, including jealousy, heartache and humiliation. A few minutes in, Peter Bretter (Mr. Segel), a composer who writes the music for a television cop series, is peremptorily dumped by Sarah Marshall (Kristen Bell), his girlfriend of five years, who is one of the show’s stars. Sarah has taken up with a louche, longhaired British rocker, Aldous Snow (Russell Brand), with whom she escapes to the same vacation spot where Peter, after a montage of meaningless hookups, goes to heal his battered soul. An important axiom is thus established early on: To a single, gainfully employed man in Los Angeles, sex comes easily. Love, however, is hard.

Or complicated, anyway, which is not the same thing. Once in Hawaii, Peter meets — in addition to a beachful of amusing bit players — the friendly, dark-haired receptionist you kind of suspect will be Sarah’s replacement. Her name is Rachel, she is played by Mila Kunis, and she has, for purposes of symmetry, her own history of romantic trouble. But the bad boyfriend in her past may not be quite enough to establish the enabling conceit that a woman like this would be (a) unattached and (b) likely to fall for Peter.

Still, “Forgetting Sarah Marshall” does not entirely play by the established conventions of its genre. Its willingness to explore states of feeling and modes of behavior that tamer romantic comedies never go near is decidedly a virtue, though this same sense of daring and candor also exposes its limitations.

Speaking of which, the filmmakers forgo the cheap and easy thrill of female nudity, preferring the display of male flesh for comic effect. Ms. Bell, Ms. Kunis and Maria Thayer (as a voracious honeymooner in an amusing subplot) keep their tops and bottoms covered even when vigorously feigning naked passion. Mr. Segel, however, appears, near the beginning of the film and again toward the end, in his unclothed entirety, a spectacle that I must report did not entirely impress a quite vocal woman a few rows behind me at the sneak preview. Mr. Segel’s willingness to face the kind of criticism she voiced is surely to his credit.

So is his ability to display both Peter’s charms and his unappealing traits — he is a loose-faced, needy, ingratiating Labrador retriever of a man — and to orchestrate a comedy of betrayal and cruelty that rarely feels meanspirited. For much of the movie’s first half, Sarah seems to be a climber and a two-timer, cheating on her devoted, unglamorous boyfriend and then ditching him for an oversexed celebrity. But at least briefly the perspective is flipped, as Sarah, accompanied by illustrative flashbacks, gently and persuasively explains to Peter what a drag he was when they were together — what a mopey, self-absorbed loser.

Which, curiously enough, is what catches Rachel’s eye in the first place. Her attraction to Peter originates not in lust but rather in pity. Something similar happened in “Freaks and Geeks,” when Linda Cardellini’s character started going out with Mr. Segel’s largely because she felt sorry for him. In that case, though, the girl’s point of view was much more central, and the shakiness of the ensuing adolescent relationship was both funnier and truer than this grown-up variation on it.

The Rachel-Peter romance is charming but not, in the end, especially credible or interesting. That the contrastingly but equally gorgeous Rachel and Sarah end up as rivals for Peter’s favor is likely to flatter the self-esteem — or at least feed the fantasies — of doughy, underachieving regular guys across America. Which is nice for them, us, whatever.

But the schlub-hottie pairings that have become ubiquitous on screen lately also reinforce a dreary double standard. Guys are permitted to be flabby, lazy emotional wrecks, but as long as they crack jokes, some action will come their way. Girls, ideally, should have a sense of humor — mainly so they can laugh at those jokes — but for the most part they should look good in a bikini and like sex (though not too much and not anything too weird). Maybe someday, though probably not under Mr. Apatow’s aegis, a relatively ordinary-looking woman will have a sex comedy of her own.

“Forgetting Sarah Marshall” is rated R (under 17 requires accompanying parent or adult guardian). It has crude sexual humor and full-frontal male nudity.

FORGETTING SARAH MARSHALL

Opens on Friday nationwide.

Directed by Nicholas Stoller; written by Jason Segel; director of photography, Russ T. Alsobrook; edited by William Kerr; music by Lyle Workman; production designer, Jackson de Govia; produced by Judd Apatow and Shauna Robertson; released by Universal Pictures. Running time: 1 hour 45 minutes.

WITH: Jason Segel (Peter Bretter), Kristen Bell (Sarah Marshall), Mila Kunis (Rachel Jansen), Russell Brand (Aldous Snow), Bill Hader (Brian Bretter), Jonah Hill (Matthew the Waiter), Da’vone McDonald (Dwayne the Bartender), Paul Rudd (Chuck), Maria Thayer (Wyoma) and Jack McBrayer (Darald).

• كارگردان: نیک استولر

  نویسنده: جیسون سگل

  بازیگران: کریستن بل، جیسون سگل، پل راد

  رنگ: رنگی

  ژانر: : عشقی :: کمدی :

  درجه فیلم: R

  کشور: ایالات متحده

  استودیو: یونیورسال پیکچرز

  افتتاحیه: 18 آوریل 2008

  فروش هفته: 17.35

  فروش کل: 17.35

  مدت زمان فیلم: 112

  امتياز منتقدان از 100: 68

  جملات تبليغاتي: یک کمدی رمانتیک بدبختی در منتها درجه.

  خلاصه داستان: پیتر برای جمع و جور کردن روابطش با نامزدش به هاوایی سفر می‌کند در حالی که نمی‌داند او با نامزد جدیدش به آن‌جا می‌آید.

  حاشيه هاي فيلم: هزینه تولید فیلم 30 میلیون دلار بوده است. cinemaema ©

FORGETTING SARAH MARSHALL – Official Website – NOW

PLAYING

Forgetting Sarah Marshall (2008)

Forgetting Sarah Marshall – Wikipedia, the free encyclopedia

Street Kings |سلاطین خیابان| 2008

Street Kings 2008

Alternate Titles: The Night Watchman, Night Watch, The NightWatchman

Director: David Ayer
Cast: Keanu Reeves, Forest Whitaker, Hugh Laurie, Chris Evans

Movie Details

Title: Street Kings
Running Time: 107 Minutes
Status: Released
Country: United States
Genre: Drama, Thriller, Crime

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Bad Cops, but Some Worse Than Others

James Ellroy, the self-described “demon dog” of American crime fiction, writes in a baroque, pulp prose style that hurtles along the page like a speed freak in a rocket, an image that I probably lifted from one of his books. In his fiction and nonfiction he rushes forward fast, fast, fast, pausing regularly to do a little scat singing (“a hypodermic full of hyper-hazy, health-hazarding” stuff, from a 1998 short story called “Hush-Hush”), or to blow a hole through the page. He’s a demon dog, all right, with a bite as sharp as his bark.

Other than Curtis Hanson’s 1997 elegant page-to-screen translation of Mr. Ellroy’s novel “L.A. Confidential,” the movies have generally failed to capture the true tone and texture of his dark places. Certainly that’s the case with David Ayer’s absurd if accidentally entertaining potboiler, “Street Kings,” based on a story by Mr. Ellroy, who also shares screenwriting credit with Kurt Wimmer and Jamie Moss. The premise — the existence of an ultraviolent gang of cops operating inside the Los Angeles Police Department and wholly outside the law — has a vintage Ellroy tang, though it also pointedly summons up a host of that city’s authentic police corruption scandals, from the 1930s through the 1990s.

Keanu Reeves plays Detective Tom Ludlow, a prime cut of beef who’s part of a cultish, multicultural wrecking crew run by the silkily smooth Capt. Jack Wander (Forest Whitaker). A loner by violent disposition and tragic (dead wife) history, Tom bursts into the film, breaking any number of laws, and immediately enters a hell on earth (that would be Los Angeles) with bullets, blood, shattered bone and underage sex slaves. Good times! More seriously, and this is nothing if not a deeply serious movie (I think), there are nothing but bad times ahead, with even more blood — smeared, splattered, splashed and sprayed — mixed in with vivid night photography, thumping tunes, boyz in the hood, ornamental women, casual racist insults and a lot of manly shouting.

Mr. Ayer, who wrote “Training Day” and directed “Harsh Times,” invests his work with palpable energy — his films feel urgent and at times, interestingly, close to desperate — but he has next to no idea how to control or channel all that manic intensity. Much as he does in “Harsh Times,” he starts this new film in overdrive and keeps it there all the way to the exhausted, exhausting end, piling violent moment upon violent moment. And much like “Training Day” (in which Denzel Washington plays a swaggeringly corrupt cop) and “Harsh Times” (Christian Bale doing the wigged-out war veteran thing), this film pivots on a man who, having been schooled in violence and rewarded for lessons too well learned, has become captive to his own brutality.

Trained as a pit bull, stripped of fear and almost without any pity (especially for himself), Tom has no sense that he’s fighting for someone else’s gain. Mr. Reeves, his face and body somewhat thickened, perhaps by age or the role or both, looks like a middleweight boxer who’s reached the end of a very hard and long road. (Robert Ryan had a lock on this type in the 1940s and ’50s.) Mr. Reeves’s natural sobriety works well for the part, as does his ability to play it stiff and straight and a touch stupid. Tom’s slow-dawning awareness of the world he inhabits and his awful place in it is terribly obvious, as is his metamorphosis, but neither is it devoid of pathos.

It’s easy to laugh at “Street Kings” for its bigger than big emotions, its preposterously kinky narrative turns and overwrought jawing and yowling, but there’s no doubt that it also keeps you watching, really watching, all the way to the end. The film can be unintentionally, often grotesquely, funny, nowhere more so than during the grandiose finale when Mr. Whitaker — never what you might call a quiet actor to begin with — cuts crazy loose and starts popping his eyes and sputtering the spit. What Mr. Ayer doesn’t appear to have realized — a mistake shared by Brian De Palma in his unfortunate adaptation of Mr. Ellroy’s crime novel “The Black Dahlia” — is that you don’t need to gild a 24-karat lily. It’s plenty shiny already.

Opens on Friday nationwide.

Directed by David Ayer; written by James Ellroy, Kurt Wimmer and Jamie Moss, based on a story by Mr. Ellroy; director of photography, Gabriel Beristain; edited by Jeffrey Ford; music by Graeme Revell; production designer, Alec Hammond; produced by Lucas Foster, Alexandra Milchan and Erwin Stoff; released by Fox Searchlight Pictures. Running time: 1 hour 47 minutes.

WITH: Keanu Reeves (Detective Tom Ludlow), Forest Whitaker (Capt. Jack Wander), Hugh Laurie (Capt. James Biggs), Chris Evans (Detective Paul Diskant), Martha Higareda (Grace Garcia), Naomie Harris (Linda Washington), Jay Mohr (Sgt. Mike Clady), John Corbett (Detective Dante Demille), Amaury Nolasco (Detective Cosmo Santos), Terry Crews (Detective Terrence Washington), Cedric the Entertainer (Scribble), Common (Coates) and the Game (Grill).
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كارگردان: دیوید آیر

نویسنده: دیوید آیر، جیمز الروی

بازیگران: کیانو ریوز، فارست ویتاکر، هیو لوری، کریس اوانز

رنگ: رنگی

ژانر: : تریلر :: درام :: جنایی :

درجه فیلم: R

کشور: ایالات متحده

استودیو: فاکس سرچ‌لایت پیکچرز

افتتاحیه: 11 آوریل 2008

فروش هفته: 12

فروش کل: 12

مدت زمان فیلم: 109

امتياز منتقدان از 100: 54

جملات تبليغاتي: شهر آن‌‌ها. قوانین آن‌ها. زندانی نداریم.

خلاصه داستان: یک مامور پلیس لس‌آنجلس پس از مرگ همسرش دچار مشکلات اساسی در روابطش می‌شود. زمانی که شواهد نشان می‌دهد که او در قتل همکارش شریک بوده است کم کم با شرایط دور و برش آشنا می‌شود و در نهایت به شرافت اطرافیانش هم شک می‌کند.C cinemaema

Street Kings (2008)

Street Kings – Wikipedia, the free encyclopedia

Prom Night |شب رقص دانشکده| 2008

Prom Night (2008)

Director: Nelson McCormick
Cast: Brittany Snow, Jessica Stroup, Collins Pennie

Movie Details

Title: Prom Night
Running Time: 88 Minutes
Country: USA
Genre: Slasher Film, Teen Movie

Music, Corsages and a Killer

It has been almost 30 years since Jamie Lee Curtis shrieked her way through the tacky magnificence of the original “Prom Night,” made at a time when the filleting of young girls was more of a cinematic novelty.

Ms. Curtis (who nowadays seems to prefer tasteful public disrobing to shrieking) would probably be insulted to learn from the press notes of this new film that it has been reimagined for a “more sophisticated audience.” (Because that’s just what you hope for in a slasher-movie audience: sophistication.) To that end, Ms. Curtis’s award-worthy screams have been replaced by Brittany Snow’s generic whimpers as Donna, sole survivor of a stalker who killed her family three years earlier and who has chosen the night of her senior prom to finish the job.

For a film about erotomania, “Prom Night” is a curiously flaccid affair, dampened by a risible villain (Johnathon Schaech) and a bloodless script that channels all its tension into the choosing of the prom king and queen. Demonstrating little except the uselessness of a restraining order against a loony-tunes admirer, the movie offers less gore than the average Band-Aid commercial and fewer scares than the elimination episodes of “Dancing With the Stars.” But then, maybe I’m just not sophisticated enough.

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كارگردان: نلسون مک‌کورمیک

نویسنده: جی اس کاردونه

بازیگران: بریتانی اسنو، اسکات پورتر، دانا دیویس

رنگ: رنگی

ژانر: : تریلر :: مرموز :: وحشت :

درجه فیلم: PG-13

کشور: ایالات متحده

استودیو: اسکرین جمز (سونی)

افتتاحیه: 11 آوریل 2008

فروش هفته: 22.7

فروش کل: 22.7

مدت زمان فیلم: 88

امتياز منتقدان از 100: 26

جملات تبليغاتي: نیمه‌شب هر کسی آماده است که به خانه برگردد… اما یک نفر نقشه دیگری دارد.

خلاصه داستان: گروهی از دانش‌آموزان دبیرستانی در شب رقص توسط یک قاتل بدذات که سال‌ها قبل شاهد مرگ اتفاقی یک دختر جوان توسط همین گروه بوده است به شدت مورد حمله قرار می‌گیرند. C cinemaema

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Prom Night (2008)

Prom Night – Official Site

Prom Night (2008 film) – Wikipedia, the free encyclopedia