Category: Movies (Page 376 of 498)

Stuck

Director Stuart Gordon’s “Stuck” is a strange little film. On one hand, it’s probably the most original thriller I’ve seen in quite some time, and on the other, it’s so absurdly illogical that a majority of the movie teeters on parody. Mena Suvari stars as Brandi Boski, a hard-working nursing assistant who’s just been informed by her supervisor that she’s in contention for a big promotion. When Brandi accidentally hits a homeless man (Stephen Rea) after a night out on the town, however, she panics and drives straight home, parking the car in the garage with the man stuck in her windshield. As she soon discovers, the man is still alive, and as the hours pass without any sign of medical help, he begins to fight back against his captor. Calling “Stuck” a horror movie is a bit of a stretch, but there’s definitely something horrific about the idea that one human could be so cruel to another human because they’re afraid of the consequences. Stephen Rea’s solid performance as the down-on-his-luck victim really helps drive “Stuck” through some of the more ridiculous moments, but it’s ultimately the film’s ripped-from-the-headlines story that proves to be the most engaging element. The fact that a woman really did hit a man with her car, drove home, and then waited for him to die is just crazy enough that it needs to be seen to be believed. Granted, the film takes a few turns along the way, but it only makes the ride that much more thrilling.

Click to buy “Stuck”

Paranoid Park

Watching “Paranoid Park” and knowing that it’s made by Gus Van Sant, the
same man who gave us fare like “Good Will Hunting” and the carbon copy
remake of “Psycho,” is a disconcerting experience. It doesn’t look at all
like either of those films. Instead, it feels more like the work of a
gifted, first-time director who’s all of 20 years old. Van Sant is clearly
tuned in to the sort of malaise that can affect certain types of teenagers
in this day and age, which is a remarkable feat for a man in his mid-50s. In
this case, he uses skater subculture as the backdrop for a darker story told
as a disjointed series of journal entries written by skaterboy Alex (Gabe
Nevins), who may or may not be responsible for the tragic death of a
security guard. The kid is hounded by a detective (Daniel Liu) for
information, by his girlfriend (Taylor Momsen, “Gossip Girl”) for sex, and
by life in general. The film is structured like a sort of murder mystery,
but when the murder is “solved” about halfway through, you realize that it
was just a dramatic red herring; as a result, “Paranoid Park” is about
something else entirely, and I have to admit I’m not exactly sure what that
something is. This is the sort of fare that could probably hold different
meanings for different viewers. It’s strange and unsettling and will likely
stick with you long after the credits roll – far more so than Van Sant’s take
on “Psycho,” anyway.

Click to buy “Paranoid Park”

GQ names 25 sexiest women in film

Jessica Alba in Sin CityWhen it comes to women in film, GQ has never been afraid to speak its mind, but with its new feature on the sexiest cinematic gals of all time, it will likely cause some debate amongst men, and even a few women. That isn’t to say they’ve necessarily chosen the wrong group of women, but when it comes to a topic like this, well, it’s more about personal reference than anything else.

There are plenty of no-brainers included (like Jessica Alba in “Sin City” and Raquel Welch in “100 Rifles”), as well as a few that are debatable (is Sienna Miller in “Layer Cake” any sexier than the many other model-turned-actress in the biz)?, but I have to imagine there was definitely someone more appropriate than “That Chick from ‘Planet of the Apes’” for the final spot. As it turns out, there is, and her name is Sophia Loren, who the magazine has included as the list’s unofficial 26th member. Check out the full feature here, along with photos and short blurbs on why each actress was chosen.

4 Months 3 Weeks and 2 Days

Sometimes simple, ordinary life can be more terrifying than any horror or suspense film – especially if you’re living under a dictatorship that seeks to manipulate the personal lives of its citizens. Christian Mungiu’s remarkable film won the top prize at Cannes and multiple critic’s prizes, wowed international audiences and created a small uproar when the Academy failed to shortlist it for the Foreign Language Oscar, and it’s obvious why. While “4 Months 3 Weeks and 2 Days” only alludes to the extreme Cold War-era anti-contraception and anti-abortion policies of ultra-Stalinist Romanian dictator Nicolae Ceauşescu, the film details with bird’s eye view directness its destructive consequences on two college students (Anamaria Marinca and Laura Vasiliu), when one becomes pregnant and they circumnavigate the emotionally and physically dangerous road to an abortion before Ceauşescu’s bloody 1989 downfall.

Using very long takes and no music at all, Mungius’ film draws the viewer in with the simplest and most relatable of situations and the purest filmic minimalism, milking suspense and something like abject terror via convincing, seemingly banal dialogue, and remarkably low-key performances from its two young female stars alongside an astonishingly believable ensemble cast. Generating unbearable tension and suspense from a situation which feels utterly real, this is not necessarily a film for everyone and it’s not necessarily always easy to watch for any of us. Still, once you start watching it you’ll have a hard time stopping. Nothing here plays out as expected and few films in recent years have generated such tension from the mundane details of life in a political and social pressure cooker, which, it turns out, has more in common with life here in the mostly free world than any of us would like to think.

Click to buy “4 Months 3 Weeks and 2 Days”

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