Wonder Woman

IMDb
When a pilot crashes and tells of conflict in the outside world, Diana, an Amazonian warrior in training, leaves home to fight a war, discovering her full powers and true destiny.


Rotten Tomatoes
An Amazon princess (Gal Gadot) finds her idyllic life on an island occupied only by female warriors interrupted when a pilot (Chris Pine) crash-lands nearby. After rescuing him, she learns that World War I is engulfing the planet, and vows to use her superpowers to restore peace. Directed by Patty Jenkins (Monster).


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Star Wars The Revenge of the Sith

IMDb

• During the near end of the clone wars, Darth Sidious has revealed himself and is ready to execute the last part of his plan to rule the Galaxy. Sidious is ready for his new apprentice, Lord Vader to step into action and kill the remaining Jedi. Vader, however, struggles to choose the dark side and save his wife or remain loyal to the Jedi order.
• In Coruscant, the Jedi Obi-Wan Kenobi and Anakin Skywalker rescue the Supreme Chancellor Palpatine from the Separatist General Grievous' spaceship and Anakin kills Count Dooku with his light-saber after a fight; however Grievous escape from the Jedi. When they land on Coruscant, Padmé Amidala comes to tell Anakin that she is pregnant. Soon he has premonitions of his wife dying during the delivery. Palpatine requests that Anakin joins the Jedi Council against the will of the members but his is not promoted to Master and stays Padawan; further they ask him to spy Palpaline. Anakin is manipulated by Palpatine about the true intentions of the Jedi and is tempted to know the dark side of the Force that could be capable to save Padmé. Further Palpatine discloses that he is Sith Lord Darth Sidious. What will Anakin do?
  - Written by Claudio Carvalho, Rio de Janeiro, Brazil

RogerEbert

George Lucas comes full circle in more ways than one in "Star Wars: Episode III -- Revenge of the Sith," which is the sixth -- and allegedly but not necessarily the last -- of the "Star Wars" movies. After "Episode II" got so bogged down in politics that it played like the Republic covered by C-Span, "Episode III" is a return to the classic space opera style that launched the series. Because the story leads up to where the original "Star Wars" began, we get to use the immemorial movie phrase, "This is where we came in."

That Anakin Skywalker abandoned the Jedi and went over to the dark side is known to all students of "Star Wars." That his twins Luke Skywalker and Princess Leia would redeem the family name is also known. What we discover in "Episode III" is how and why Anakin lost his way -- how a pleasant and brave young man was transformed into a dark, cloaked figure with a fearsome black metal face. As Yoda sadly puts it in his inimitable word order: "The boy you trained, gone he is, consumed by Darth Vader."

As "Episode III" opens, Anakin Skywalker (Hayden Christensen) and his friend Obi-Wan Kenobi (Ewan McGregor) are piloting fighter craft, staging a daring two-man raid to rescue Chancellor Palpatine (Ian McDiarmid). He has been captured by the rebel Gen. Grievous (whose voice, by Matthew Woods, sounds curiously wheezy considering the general seems to use replacement parts). In the spirit of all the "Star Wars" movies, this rescue sequence flies in the face of logic, since the two pilots are able to board Grievous' command ship and proceed without much trouble to the ship's observation tower, where the chancellor is being held. There is a close call in an elevator shaft, but where are the guards and the security systems? And why, for that matter, does a deep space cruiser need an observation tower, when every porthole opens on to the universe? But never mind.

Back within the sphere of the Jedi Council, Anakin finds that despite his heroism, he will not yet be named a Jedi Master. The council distrusts Palpatine and wants Anakin to spy on him; Palpatine wants Anakin to spy on the council. Who to choose? McDiarmid has the most complex role in the movie as he plays on Anakin's wounded ego. Anakin is tempted to go over to what is not yet clearly the dark side; in a movie not distinguished for its dialogue, Palpatine is insidiously snaky in his persuasiveness.

The way Anakin approaches his choice, however, has a certain poignancy. Anakin has a rendezvous with Padme (Natalie Portman); they were secretly married in the previous film, and now she reveals she is pregnant. His reaction is that of a nice kid in a teenage comedy, trying to seem pleased while wondering how this will affect the other neat stuff he gets to do. To say that George Lucas cannot write a love scene is an understatement; greeting cards have expressed more passion.

The dialogue throughout the movie is once again its weakest point: The characters talk in what sounds like Basic English, without color, wit or verbal delight, as if they were channeling Berlitz. The exceptions are Palpatine and of course Yoda, whose speech (voiced by Frank Oz) reminds me of Wolcott Gibbs' famous line about the early style of Time magazine: "Backward ran sentences until reeled the mind."

In many cases the actors are being filmed in front of blue screens, with effects to be added later, and sometimes their readings are so flat, they don't seem to believe they're really in the middle of amazing events. How can you stand in front of exploding star fleets and sound as if you're talking on a cell phone at Starbucks?

"He's worried about you," Anakin is told at one point. "You've been under a lot of stress." Sometimes the emphasis in sentences is misplaced. During the elevator adventure in the opening rescue, we hear "Did I miss something?" when it should be "Did I miss something?"

The dialogue is not the point, however; Lucas' characters engage in sturdy oratorical pronunciamentos and then leap into adventure. "Episode III" has more action per square minute, I'd guess, than any of the previous five movies, and it is spectacular. The special effects are more sophisticated than in the earlier movies, of course, but not necessarily more effective.

The dogfight between fighters in the original "Star Wars" and the dogfight that opens this one differ in their complexity (many more ships this time, more planes of action, more detailed backgrounds) but not in their excitement. And although Lucas has his characters attend a futuristic opera that looks like a cross between Cirque de Soleil and an ultrasound scan of an unborn baby, if you regard the opera hall simply as a place, it's not as engaging as the saloon on Tatooine in the first movie.

The lesson, I think, is that special effects should be judged not by their complexity but by the degree that they stimulate the imagination, and "Episode III" is distinguished not by how well the effects are done, but by how amazingly they are imagined. A climactic duel on a blazing volcanic planet is as impressive, in its line, as anything in "Lord of the Rings." And Yoda, who began life as a Muppet but is now completely animated (like about 70 percent of what we see onscreen), was to begin with and still is the most lifelike of the non-humanoid "Star Wars" characters.

A word, however, about the duels fought with lightsabers. When they flashed into life with a mighty whizzing thunk in the first "Star Wars" and whooshed through their deadly parabolas, that was exciting. But the thrill is gone.

The duelists are so well-matched that saber fights go on forever before anyone is wounded, and I am still not sure how the sabers seem able to shield their bearers from attack. When it comes to great movie sword fights, Liam Neeson and Tim Roth took home the gold medal in "Rob Roy" (1995), and the lightsaber battles in "Episode III" are more like isometrics.

These are all, however, more observations than criticisms. George Lucas has achieved what few artists do; he has created and populated a world of his own. His "Star Wars" movies are among the most influential, both technically and commercially, ever made. And they are fun. If he got bogged down in solemnity and theory in "Episode II: Attack of the Clones," the Force is in a jollier mood this time, and "Revenge of the Sith" is a great entertainment.

Note: I said this is not necessarily the last of the "Star Wars" movies. Although Lucas has absolutely said he is finished with the series, it is inconceivable to me that 20th Century-Fox will willingly abandon the franchise, especially as Lucas has hinted that parts VII, VIII and IX exist at least in his mind. There will be enormous pressure for them to be made, if not by him, then by his deputies.

Rotten Tomatoes

George Lucas draws the Star Wars film series to a close with this dark sci-fi adventure which sets the stage for the events of the first film and brings the saga full circle. After a fierce battle in which Obi-Wan (Ewan McGregor) and Anakin (Hayden Christensen) join Republic forces to help free Chancellor Palpatine (Ian McDiarmid) from the evil Count Dooku (Christopher Lee) and his minions, Anakin is drawn into Palpatine's confidence. Palpatine has designs on expanding his rule, and with this in mind he plants seeds of doubt in Anakin's mind about the strength and wisdom of the Jedis. Anakin is already in a quandary about how to reveal to others the news of his secret marriage to Padmé Amidala (Natalie Portman) now that she is pregnant, and visions which foretell her death in childbirth weigh heavy on his mind. As Anakin finds himself used by both the Jedis and the Republic for their own purposes -- particularly after Mace Windu (Samuel L. Jackson) expresses his distrust of the young Jedi -- he turns more and more to the Force for help, but begins to succumb to the temptations of its dark side. Many of the Star Wars series regulars returned for Star Wars: Episode III -- Revenge of the Sith, including Frank Oz as the voice of Yoda, Anthony Daniels as C-3PO, Kenny Baker as R2-D2, and Peter Mayhew as Chewbacca. ~ Mark Deming, Rovi

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Star Wars Return of the Jedi

IMDb
After rescuing Han Solo from the palace of Jabba the Hutt, the rebels attempt to destroy the second Death Star, while Luke struggles to make Vader return from the dark side of the Force.



RogerEbert

Here is just one small moment in "Return of Jedi," a moment you could miss if you looked away from the screen, but a moment that helps explain the special magic of the Star Wars movies. Luke Skywalker is engaged in a ferocious battle in the dungeons beneath the throne room of the loathsome, Jabba the Hutt. His adversary is a slimy, gruesome, reptilian monster made of warts and teeth. Things are looking bad when suddenly the monster is crushed beneath a falling door. And then (here is the small moment) there's a shot of the monster's keeper, a muscle-bound jailer, who rushes forward in tears. He is brokenhearted at the destruction of his pet. Everybody loves somebody.

It is that extra level of detail that makes the Star Wars pictures much more than just space operas. Other movies might approach the special effects. Other action pictures might approximate the sense of swashbuckling adventure. But in "Return of the Jedi," as in "Star Wars" and "The Empire Strikes Back," there's such a wonderful density to the canvas. Things are happening all over. They're pouring forth from imaginations so fertile that, yes, we do halfway believe in this crazy Galactic Empire long ago and far, far away.

"Return of the Jedi" is both a familiar movie and a new one. It concludes the stories of the major human characters in the saga, particularly Skywalker, Han Solo, Princess Leia and Darth Vader. It revisits other characters who seem either more or less than human, including Ben (Obi-Wan) Kenobi, Yoda, Chewbacca, and the beloved robots C-3PO and R2-D2. If George Lucas persists in his plan to make nine Star Wars movies, this will nevertheless be the last we'll see of Luke, Han and Leia, although the robots will be present in all the films.

The story in the Star Wars movies is, however, only part of the film -- and a less crucial element as time goes by. What "Jedi" is really giving us is a picaresque journey through the imagination, and an introduction to forms of life less mundane than our own.

In "Jedi," we encounter several unforgettable characters, including the evil Jabba the Hutt, who is a cross between a toad and the Cheshire Cat; the lovable, cuddly Ewoks, the furry inhabitants of the "forest moon of Endor"; a fearsome desert monster made of sand and teeth, and hateful little ratlike creatures that scurry about the corners of the frame. And there is an admiral for the Alliance who looks like the missing link between Tyrannosaurus Rex and Charles De Gaulle.

One thing the Star Wars movies never do is waste a lot of time on introductions. Unlike a lot of special effects and monster movies, where new creatures are introduced with laborious setups, "Jedi" immediately plunges its alien beasts into the thick of the action. Maybe that's why the film has such a sense of visual richness. Jabba's throne room, for example, is populated with several weird creatures, some of them only half-glimpsed in the corner of the frame. The camera in "Jedi" slides casually past forms of life that would provide the centerpiece for lesser movies.

The movie also has, of course, more of the amazing battles in outer space -- the intergalactic video games that have been a trademark since "Star Wars." And "Jedi" finds an interesting variation on that chase sequence in "Star Wars" where the space cruisers hurtled through the narrow canyons on the surface of the Death Star. This time, there's a breakneck chase through a forest, aboard airborne motorcycles. After several of the bad guys have run into trees and gotten creamed, you pause to ask yourself why they couldn't have simply flown above the treetops ... but never mind, it wouldn't have been as much fun that way.

And "Return of the Jedi" is fun, magnificent fun. The movie is a complete entertainment, a feast for the eyes and a delight for the fancy. It's a little amazing how Lucas and his associates keep topping themselves.

From the point of view of simple movie-making logistics, there is an awesome amount of work on the screen in "Jedi" (twice as many visual effects as "Star Wars" in the space battles, Lucas claims). The fact that the makers of "Jedi" are able to emerge intact from their task, having created a very special work of the imagination, is the sort of miracle that perhaps Obi-Wan would know something about.

Rotten Tomatoes

n the epic conclusion of the saga, the Empire prepares to crush the Rebellion with a more powerful Death Star while the Rebel fleet mounts a massive attack on the space station. Luke Skywalker confronts his father Darth Vader in a final climactic duel before the evil Emperor. In the last second, Vader makes a momentous choice: he destroys the Emperor and saves his son. The Empire is finally defeated, the Sith are destroyed, and Anakin Skywalker is thus redeemed. At long last, freedom is restored to the galaxy.

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Star Wars The Empire Strikes Back

IMDb
After the rebels have been brutally overpowered by the Empire on their newly established base, Luke Skywalker takes advanced Jedi training with Master Yoda, while his friends are pursued by Darth Vader as part of his plan to capture Luke.



Rotten Tomatoes
After the destruction of the Death Star, Imperial forces continue to pursue the Rebels.


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Star Wars

IMDb
Luke Skywalker joins forces with a Jedi Knight, a cocky pilot, a wookiee and two droids to save the galaxy from the Empire's world-destroying battle-station, while also attempting to rescue Princess Leia from the evil Darth Vader.



RogerEbert
Every once in a while I have what I think of as an out-of-the-body experience at a movie. When the ESP people use a phrase like that, they're referring to the sensation of the mind actually leaving the body and spiriting itself off to China or Peoria or a galaxy far, far away. When I use the phrase, I simply mean that my imagination has forgotten it is actually present in a movie theater and thinks it's up there on the screen. In a curious sense, the events in the movie seem real, and I seem to be a part of them.

"Star Wars" works like that. My list of other out-of-the-body films is a short and odd one, ranging from the artistry of "Bonnie and Clyde" or "Cries and Whispers" to the slick commercialism of "Jaws" and the brutal strength of "Taxi Driver." On whatever level (sometimes I'm not at all sure) they engage me so immediately and powerfully that I lose my detachment, my analytical reserve. The movie's happening, and it's happening to me.

What makes the "Star Wars" experience unique, though, is that it happens on such an innocent and often funny level. It's usually violence that draws me so deeply into a movie -- violence ranging from the psychological torment of a Bergman character to the mindless crunch of a shark's jaws. Maybe movies that scare us find the most direct route to our imaginations. But there's hardly any violence at all in "Star Wars" (and even then it's presented as essentially bloodless swashbuckling). Instead, there's entertainment so direct and simple that all of the complications of the modern movie seem to vaporize.

"Star Wars" is a fairy tale, a fantasy, a legend, finding its roots in some of our most popular fictions. The golden robot, lion-faced space pilot, and insecure little computer on wheels must have been suggested by the Tin Man, the Cowardly Lion, and the Scarecrow in "The Wizard of Oz." The journey from one end of the galaxy to another is out of countless thousands of space operas. The hardware is from "Flash Gordon" out of "2001: A Space Odyssey," the chivalry is from Robin Hood, the heroes are from Westerns and the villains are a cross between Nazis and sorcerers. "Star Wars" taps the pulp fantasies buried in our memories, and because it's done so brilliantly, it reactivates old thrills, fears, and exhilarations we thought we'd abandoned when we read our last copy of Amazing Stories.

The movie works so well for several reasons, and they don't all have to do with the spectacular special effects. The effects are good, yes, but great effects have been used in such movies as "Silent Running" and "Logan's Run" without setting all-time box-office records. No, I think the key to "Star Wars" is more basic than that.

The movie relies on the strength of pure narrative, in the most basic storytelling form known to man, the Journey. All of the best tales we remember from our childhoods had to do with heroes setting out to travel down roads filled with danger, and hoping to find treasure or heroism at the journey's end. In "Star Wars," George Lucas takes this simple and powerful framework into outer space, and that is an inspired thing to do, because we no longer have maps on Earth that warn, "Here there be dragons." We can't fall off the edge of the map, as Columbus could, and we can't hope to find new continents of prehistoric monsters or lost tribes ruled by immortal goddesses. Not on Earth, anyway, but anything is possible in space, and Lucas goes right ahead and shows us very nearly everything. We get involved quickly, because the characters in "Star Wars" are so strongly and simply drawn and have so many small foibles and large, futile hopes for us to identify with. And then Lucas does an interesting thing. As he sends his heroes off to cross the universe and do battle with the Forces of Darth Vader, the evil Empire, and the awesome Death Star, he gives us lots of special effects, yes -- ships passing into hyperspace, alien planets, an infinity of stars -- but we also get a wealth of strange living creatures, and Lucas correctly guesses that they'll be more interesting for us than all the intergalactic hardware.

The most fascinating single scene, for me, was the one set in the bizarre saloon on the planet Tatooine. As that incredible collection of extraterrestrial alcoholics and bug-eyed martini drinkers lined up at the bar, and as Lucas so slyly let them exhibit characteristics that were universally human, I found myself feeling a combination of admiration and delight. "Star Wars" had placed me in the presence of really magical movie invention: Here, all mixed together, were whimsy and fantasy, simple wonderment and quietly sophisticated storytelling.

When Stanley Kubrick was making "2001" in the late 1960s, he threw everything he had into the special effects depicting outer space, but he finally decided not to show any aliens at all -- because they were impossible to visualize, he thought. But they weren't at all, as "Star Wars" demonstrates, and the movie's delight in the possibilities of alien life forms is at least as much fun as its conflicts between the space cruisers of the Empire and the Rebels.

And perhaps that helps to explain the movie's one weakness, which is that the final assault on the Death Star is allowed to go on too long. Maybe, having invested so much money and sweat in his special effects, Lucas couldn't bear to see them trimmed. But the magic of "Star Wars" is only dramatized by the special effects; the movie's heart is in its endearingly human (and non-human) people.

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The Crow

IMDb
A man brutally murdered comes back to life as an undead avenger of his and his fiancée's murder.



Rotten Tomatoes
Based on the graphic novel by James O'Barr, this fantasy follows Eric Draven (Brandon Lee), a rock musician who is murdered along with his fiancée, Shelly (Sofia Shinas), by a group of marauding thugs who terrorize the decaying city in which they live. One year to the day after his death (which happens to be Devil's Night), a mystical crow appears at Eric's grave; Eric rises from the dead and, with the bird as his guide, goes on a mission to avenge himself against Top Dollar (Michael Wincott), the leader of the gang who killed him. Star Brandon Lee was killed while filming a scene in which he was shot with a shell from an improperly cleaned gun that was supposed to be loaded with blanks. Like his father, martial arts superstar Bruce Lee, Brandon was fated to enjoy his greatest popular success after his premature death. ~ Mark Deming, 


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Harley Davidson and the Marlboro Man

IMDb

The tough biker Harley and his no less tough cowboy friend Marlboro learn that an old friend of theirs will lose his bar, because a bank wants to build a new complex there and demands 2.5 million dollars for a new contract in advance. Harley and Marlboro decide to help him by robbing the corrupt bank. Unfortunately they rob the wrong safety transport and get hold of an amount of a new synthetic drug. Now they are targeted both by criminal bankers and killers of the drug mob.

- Written by Tom Zoerner



Rotten Tomatoes
Mickey Rourke and Don Johnson star in this buddy-buddy futuristic action movie. Rourke is Harley Davidson, a biker with the Halloween-costume garb of a leather jacket, short haircut, earring, and a scar. Johnson joins Rourke in the trick-or-treating as Marlboro, an ex-rodeo rider wearing a cowboy hat, vest, and dilapidated boots. They hang out at a neighborhood bar. When they find that a collection of greedy bankers want to increase the bar's payments so it will be forced to close, the two decide to help the bar out of its financial straits by robbing the bank of $2.5 million in order to pay the inflated tab and keep the bar in business. Unfortunately for the boys, the bank deals in an illicit drug called "the dream," and when they rob the armored car, they steal the drugs and not the cash. Of course, the boys become the targets for the bank's sadistic squad of hit men, led by a pleasant chap by the name of Alexander (Daniel Baldwin).


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The Phantom Hunting

IMDb

Timur, a policeman whose career is on the rise, is forced to break the law in order to save his fiancée, Keira. In so doing, he also uncovers the conspiracy of a global corporation trying to gain control of people's minds and change the course of history...

- Written by Anonymous


Themoviedb

Overview

The action of this story begins in the near future. The great device codenamed as the “Phantom” is invented by the Global Security Corporation in order to eliminate the crime and to establish a secure global community. But, it is not how it really is. The reverse side of the “Phantom” is to establish an absolute control over people’s minds. The Corporation aims to change the course of the history, by gaining the community of obedient “puppets”, who would never realize that their minds are being controlled. Step by step, the “Phantom” fractures people’s lives, but nobody suspects anything, until it destroys the lives of in-love couple- Timur and Keira. She is convicted of murder, and he needs to break the law to save her. An American criminal hacker named Zach helps Timur to find the truth, and to uncover the Corporation’s conspiracy.

Tagline

Science has made us gods even before we are worthy of being men

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World War Z

IMDb
Former United Nations employee Gerry Lane traverses the world in a race against time to stop the Zombie pandemic that is toppling armies and governments, and threatening to destroy humanity itself.



Rotten Tomatoes
The story revolves around United Nations employee Gerry Lane (Pitt), who traverses the world in a race against time to stop a pandemic that is toppling armies and governments and threatening to decimate humanity itself. (C) Paramount


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The Shannara Chronicles

IMDb
Series of adventures, war, and evil that occur throughout the history of the Four Lands.


Pubfilm
The Shannara Chronicles is an American television fantasy/science fiction series based on the The Sword of Shannara Trilogy books by Terry Brooks


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This Means War

IMDb
Two top CIA operatives wage an epic battle against one another after they discover they are dating the same woman.


Rotten Tomatoes
The world's deadliest CIA operatives are inseparable partners and best friends until they fall for the same woman. Having once helped bring down entire enemy nations, they are now employing their incomparable skills and an endless array of high-tech gadgetry against their greatest nemesis ever - each other. -- (C) Fox


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The Place Beyond The Pines

IMDb
A motorcycle stunt rider turns to robbing banks as a way to provide for his lover and their newborn child, a decision that puts him on a collision course with an ambitious rookie cop navigating a department ruled by a corrupt detective.



Rotten Tomatoes
The highly anticipated new drama from director Derek Cianfrance ("Blue Valentine") powerfully explores the consequences of motorcycle rider Luke's (Academy Award nominee Ryan Gosling) fateful decision to commit a crime to support his child. The incident renders him targeted by policeman Avery (Golden Globe Award nominee Bradley Cooper), and the two men become locked on a tense collision course which will have a devastating impact on both of their families in the years following. (c) Focus

RogerEbert
We begin the movie by following a tattoo-spangled man as he makes his way through a carnival crowd, arriving in a tent containing a few hundred cheering fans and a globe-shaped metal cage. This audacious, extended tracking shot will be familiar to fans of Martin Scorsese (and before that,Orson Welles), and it immediately tells us we are about to experience of film of considerable ambition. You don't even try to make a play like that unless you have confidence in your creative arsenal.

The man straps on his helmet and climbs on his motorcycle, and he and two other daredevils are soon zipping past and around each other inside that metal cage, racing around and around and upside down, defying gravity and all common sense.

We end the movie with another young man on another motorbike, racing to avoid his fate, blissfully unaware the path he has chosen is most likely to take him to the very place he wants to avoid. It is a final shot of heartbreaking perfection.

Shaking up the cinematic doldrums of early spring, here comes "The Place Beyond the Pines," a self-confident, self-aware, almost cocky piece of filmmaking from the immensely gifted Derek Cianfrance. It is an epic film centered on pivotal moments in the lives of working-class and fringe-society types who wake up every morning and go to bed each night with the same question hanging over their heads: how are they going to make ends meet?

Few if any leading men in Hollywood have hotter careers right now than Ryan Gosling andBradley Cooper, but "The Place Beyond the Pines" is anything but a slick, dual-star vehicle. An outstanding supporting cast and an immensely talented creative team join Cooper and Gosling to put together a film that touches greatness.

This is an ambitious work in three acts, with each chapter taking surprising, sometimes shocking turns. All tattoos and deliberate mannerisms, Gosling is mesmerizing as Luke, the daredevil motorcyclist and small-time crook we see in that memorable, dialogue-free opening sequence. With his ripped T-shirts, bleached-blond hair, bulging biceps and tattoos that cover his torso, creep up his neck and even appear at a corner of one eye, Luke is a startling presence. But he speaks quietly and moves deliberately (when he's not on his motorcycle), like a caged animal waiting for his chance to pounce.

Eva Mendes gives one of the best performances of her career as Romina, a sultry waitress who is the mother of Luke's infant son — the result of a fling the last time Luke was in town. Romina's got a new man now, and she's trying to make something of herself by going back to school, but she's clearly drawn to Luke, even though she knows he's the wrong man to help raise their child.

Clueless and desperate, Luke begins robbing banks to provide for the boy. It's a wrong move followed by a series of even worse decisions.

On a mostly parallel track in the same town (Schenectady, N.Y.), is Bradley Cooper's Avery, a cop and law school graduate who's smart — but not as smart as he thinks he is. (Witness that awful haircut and the hideous jacket he wears everywhere he goes.) Avery's also nakedly ambitious, as we see when he attempts to parlay a heroic act into a huge promotion.

After Avery crosses paths with Luke, "Pines" takes a hard right turn, and we're immersed in a world of crooked police officers and life-changing moral dilemmas. We've seen Ray Liotta play a corrupt cop before, but nobody does it better. A scene in which Liotta and several other cops arrive unannounced at Avery's house and essentially invite themselves to dinner is almost unbearably tense, despite the outward smiles and bursts of laughter at the table.

The third act is about the sons of Luke and Avery, some 15 years down the road. There's some terrific acting here, and the script remains compelling, but this story isn't quite as riveting as the first two-thirds of the film.

Huge applause to Derek Cianfrance and his co-writers for creating a movie that announces its ambitions from that opening sequence. The music, the cinematography, the acting choices, the daring plot leaps — not a single element is timid or safe. There are small coincidences with huge consequences, as characters struggle to escape their past, to change their seemingly inevitable fates. "The Place Beyond the Pines" earns every second of its 140-minute running time.

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Assassins Tale

IMDb
Three assassins deal with life, love, addiction and trust as each tries to find the answers to a better life. Together, they prove to be the most trustworthy in this tangled web of murder, greed, friendship and betrayal.


Rotten Tomatoes
A small time thug schemes to sell the name of a mob boss' illegitimate son to a tabloid reporter, only to learn that the price he'll pay for his greed will be far greater than any reward he may reap. ~ Jason 


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Child's Play 4 Bride of Chucky

Love Jennifer Tilly



IMDb
Chucky, the doll possessed by a serial killer, discovers the perfect mate to kill and revive into the body of another doll.



Rotten Tomatoes
This horror film, directed by Ronnie Yu, marked a return (after an eight-year lapse) of Chucky and the Child's Play series that began in 1988. At the moment of his death, the spirit of former serial killer Charles Lee Ray was mystically relocated in the doll Chucky (voice of Brad Dourif). After being salvaged from the evidence morgue by his ex-girlfriend Tiffany (Jennifer Tilly) and a corrupt cop, Chucky is put back in action when Tiffany sews his pieces back together and works a voodoo spell to revive his sinister self. Tiffany sees her dreams of marriage aren't working out, so she keeps Chucky locked away. After an escape, Chucky electrocutes Tiffany by pushing a radio into the bathtub, delivering a chant that puts the spirit of Tiffany into a bridal figurine. Chucky's amulet can switch them back into their original human forms, so they head for New Jersey where the amulet is buried -- putting cops in motion, along with car-crash carnage. ~ Bhob Stewart, Rovi


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Green Lantern

IMDb
Reckless test pilot Hal Jordan is granted an alien ring that bestows him with otherworldly powers that inducts him into an intergalactic police force, the Green Lantern Corps.


Rotten Tomatoes
In a universe as vast as it is mysterious, a small but powerful force has existed for centuries. Protectors of peace and justice, they are called the Green Lantern Corps. A brotherhood of warriors sworn to keep intergalactic order, each Green Lantern wears a ring that grants him superpowers. But when a new enemy called Parallax threatens to destroy the balance of power in the Universe, their fate and the fate of Earth lie in the hands of their newest recruit, the first human ever selected: Hal Jordan (Ryan Reynolds). Hal is a gifted and cocky test pilot, but the Green Lanterns have little respect for humans, who have never harnessed the infinite powers of the ring before. -- (C) Warner Bros


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Conan The Barbarian

ok Neighbor wants this one


Rotten Tomatoes
A quest that begins as a personal vendetta for the fierce Cimmerian warrior soon turns into an epic battle against hulking rivals, horrific monsters, and impossible odds, as Conan (Jason Momoa) realizes he is the only hope of saving the great nations of Hyboria from an encroaching reign of supernatural evil. -- (C) Lionsgate


RogerEbert
"Conan the Barbarian" involves a clash of civilizations whose vocabularies are limited to screams, oaths, grunts, howls, ejaculations, exclamations, vulgarities, screeches, wails, bellows, yelps and woofs. I'd love to get my hands on the paycheck for subtitling this movie.

The plot involves — oh, never mind. You have your Barbarians, and they kill one another in an unending series of battle scenes. I guess Conan is the good guy, but what difference does it make? He has no cause or belief. He's driven by revenge against the sadistic Khalar Zym (Stephen Lang), who trapped Conan's father under a vat of molten iron, assigned young Conan to exert his little muscles to try to keep it from tipping, and screamed at the old man: "You will watch your child die trying to save you!"

Luckily, Conan (the muscular Jason Momoa) survives and grows up with no worse than a photogenic scar on his face, where some wayward molten iron dripped. He and his father Corin (Ron Perlman) had earlier forged his sword at the steel moltery; earlier still, the infant Conan was delivered on a battlefield by an emergency Caesarian performed by Corin's own sword on the child's mother, who survives long enough to say, "He shall be named Conan." She was so weak she lacked the breath to say, "Conan the Barbarian."

The movie is a series of violent conflicts. People who despair of convincing me to play video games tell me, "Maybe if you could just watch someone else playing one!" I feel as if I now have. Conan carves, beheads, disembowels and otherwise inconveniences the citizens of several improbable cities, each time in a different fanciful situation. The evil Khalar Zym and his daughter Marique (Rose McGowan) turn up regularly, uttering imprecations, with Marique especially focused on Conan's warrior gal pal Tamara (Rachel Nichols).

This Marique, she's a piece of work. She has white pancake makeup, blood red lips, cute little facial tattoos and wickedly sharp metal talons on her fingers. At one point, she blows some magic dust at Conan, and the dust turns into a team of warriors made of sand. This is a neat special effect, although it raises the question if you turn back to sand when Conan slices you, what kind of a life is that?

The film ends with a very long battle involving Conan, Khalar Zym, Tamara and Marique, a sentence I never thought I'd write. It takes place largely with Tamara strapped to a revolving wheel above a vertiginous drop to flames far below. Mention is made of a volcano, but never further explained. The entire cavern crumbles around them, big chunks of rock falling everywhere except, luckily, upon them.

"Conan the Barbarian" is a brutal, crude, witless high-tech CGI contrivance, in which no artificial technique has been overlooked, including 3-D. The third dimension once again illustrates the principle that when a movie largely takes place indoors in dimly lit spaces, the last thing you need is a pair of dark glasses.

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