Sebastiane 1976

IMDb
Reassigned to a lowly outpost, a Roman guard's Christian beliefs clash with his gay commander's desire for closeness. Being tortured becomes pleasurable.


Rotten Tomatoes
Filmed entirely in vulgar Latin, this experimental film recounts the life of Sebastiane, a puritanical but beautiful Christian soldier in the Roman Imperial troops who is martyred when he refuses the homosexual advances of his pagan captain. When this film was released, it was the only English-made film to have required English subtitles, and it is an early film by the noted experimental and outspokenly homosexual director Derek Jarman, who died in 1994. ~ Clarke Fountain, 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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A Dark Reflection

IMDb
A journalist digs deep into the world of aviation and discovers some uncomfortable truths. And a conspiracy trail dating back to 1954. But why is no one saying anything?


Rotten Tomatoes
The film, an investigative thriller, based on actual real events occurring globally today, tells the story of two British journalists that by chance, discover aviation's biggest cover-up. A serious in flight incident not disclosed by JASP Airlines reveals a hidden truth. Their investigation soon seeks to prove passengers have been knowingly put at risk since the 1950s. When new airline CEO discovers the darker side of the airline industry and its secret campaign of denial being withheld by airline owner, he is faced with the nightmare scenario. Corporate profit or the public's safety? The film reveals facts that every airline passenger should watch before they next fly.


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After

IMDb
When two bus crash survivors awake to discover that they are the only people left in their town, they work together to unravel the truth behind the strange events.


Rotten Tomatoes
When two bus crash survivors awake to discover that they are the only people left in their small town, they must form an unlikely alliance in a race to unravel the truth behind their isolation. As strange events begin to unfold, they start to question whether the town they know so well is really what it seems. -- (C) Official Site

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Phantom Halo

IMDb

Brothers Samuel and Beckett Emerson are barely scraping by. Their father, Warren, continues to gamble and drink away any money they bring home. With all the havoc that is constantly going on in their lives, the family members each find solace in his own way, through Shakespeare, comic books and impossible love affairs. Beckett seizes the opportunity to make some easy money by counterfeiting in hopes of repaying his father's debts. When Beckett's plan goes awry, the family must decide to change their ways or pay the ultimate price

- Written by GNR



Rotten Tomatoes
Brothers Samuel and Beckett Emerson are barely scraping by. Their father, Warren, continues to gamble and drink away any money they bring home. With all the havoc that is constantly going on in their lives, the family members each find solace in his own way, through Shakespeare, comic books and impossible love affairs. Beckett seizes the opportunity to make some easy money by counterfeiting in hopes of repaying his father's debts. When Beckett's plan goes awry, the family must decide what's most important or pay the ultimate price. (C) Arc Entertainment


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Kill Game

IMDb
In the fictional town of Grace Arbor the answers are never clear.Who is underneath the mask? PRANK'd is the story of a group of high school kids who amuse themselves by pulling pranks on unsuspecting students and teachers. They are all popular, good looking, the kids voted most likely to succeed. But at their core lies a cruelty and shallowness which comes with the territory of privilege. One night, a prank goes horribly wrong and a teenager is killed. The gang covers it up as a drowning accident but five years later, their lives are turned upside down when Jimmy Edwards, is killed by a serial killer wearing a haunting Marilyn Monroe mask. Soon, the gang are killed one by one in manners mirroring the pranks they pulled in high school. Is it revenge? Is it karma? Is it the dead boy's spirit coming back to avenge his death? Is it his twin brother, Liam, who has come to Grace Arbor asking questions?One thing is certain...No one is laughing now.


Culture Crypt

Summary:

A high school prank gone wrong comes back to haunt seven friends when a masked murderer begins killing each of them one by one.

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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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Contagion

IMDb
Healthcare professionals, government officials and everyday people find themselves in the midst of a worldwide epidemic as the CDC works to find a cure


Rotten Tomatoes
Contagion follows the rapid progress of a lethal airborne virus that kills within days. As the fast-moving epidemic grows, the worldwide medical community races to find a cure and control the panic that spreads faster than the virus itself. At the same time, ordinary people struggle to survive in a society coming apart. -- (C) Warner Bros.

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Black Death

IMDb
Set during the time of the first outbreak of bubonic plague in England, a young monk is given the task of learning the truth about reports of people being brought back to life in a small village.


Rotten Tomatoes
The year is 1348. Europe has fallen under the shadow of the Black Death. As the plague decimates all in its path, fear and superstition are rife. In this apocalyptic environment, the church is losing its grip on the people. There are rumors of a village, hidden in marshland that the plague cannot reach. There is even talk of a necromancer who leads the village and is able to bring the dead back to life. Ulric (Sean Bean), a fearsome knight, is charged by the church to investigate these rumors. He enlists the guidance of a novice monk, Osmund (Eddie Redmayne) to lead him and his band of mercenary soldiers to the marshland, but Osmund has other motives for leaving his monastery. Their journey to the village and events that unfold take them into the heart of darkness and to horrors that will put Osmund's faith in himself and his love for God to the ultimate test. -- (C) Magnolia Releasing


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Captive

IMDb
A single mother struggling with drug addiction is taken hostage in her own apartment by a man on the run who has broken out of jail and murdered the judge assigned to his case.


Rotten Tomatoes
A thrilling drama about the spiritual collision of two broken lives. When Brian Nichols -on the run as the subject of a city wide manhunt and desperate to make contact with his newborn son - takes recovering meth addict Ashley Smith hostage in her own apartment, she turns for guidance to Rick Warren's best-selling inspirational book, The Purpose Driven Life. While reading aloud, Ashley and her would-be killer each face crossroads where despair and death intersect 

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The Remaining

IMDb
Friends gather at a wedding, but the celebration is shattered by terrifying apocalyptic events forcing them to examine life, love and faith as they must choose between redemption and survival.



Rotten Tomatoes
A group of close friends gather for a wedding, but the celebration is shattered by a series of cataclysmic events and enemies foretold by biblical end-times prophecies. The Remaining - Dan, Skylar, Tommy, Jack, Allison and Sam face a horrifying, uncertain future as they fight for their lives. Who will survive?


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Child's Play 3

IMDb
Chucky, the doll possessed by a serial killer, returns for revenge against Andy, the young boy who defeated him and who has since become a teenager.



Rotten Tomatoes
Several years have passed since the events of the previous film, and yet again the makers of Good Guys dolls -- a line which included the homicidal Chucky -- decide to reinstate their product line. Unfortunately, some of the materials used are still imbued with the evil spirit of serial killer Charles Lee Ray (voice of Brad Dourif), whose soul once inhabited the Chucky doll... and who returns to action in a spanking new Good Guy body. Determined at first to finish the job he started by swapping bodies with young Andy (Justin Whalin) -- who is now a teenager in military school -- Chucky decides to change tactics, setting his sights on a much younger boy. When Andy becomes aware of the situation, he is compelled to put a stop to Chucky's Satanic antics once and for all. The signs of a creatively-depleted horror franchise are evident (they had already shown themselves in the previous installment), but there is still enough juice left for the spooky climax, which borrows a riff from Tobe Hooper's The Funhouse.


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Child's Play 2

IMDb
While Andy's mother is admitted to a psychiatric hospital, the young boy is placed in foster care, and Chucky, determined to claim Andy's soul, is not far behind.


Rotten Tomatoes
A derivative rehashing of its predecessor (which itself owes a heavy debt to Trilogy of Terror), this sequel details the plight of young Andy (Alex Vincent), who in the previous film narrowly escaped losing his soul to make room for devil-doll Chucky (voice of Brad Dourif). Possessed by the spirit of serial killer Charles Lee Ray, Chucky had coveted Andy's body as a replacement for his own plastic shell... which ended up beaten and burned beyond recognition. At this film's outset, Andy's mom has suffered a nervous breakdown as a result of the prior human-vs.-doll battle, and Andy has been taken to a foster home. In the meantime, the makers of Good Guys dolls decide to reconstruct the scrappy little toy, hoping to prove the doll's harmlessness and sway public opinion. Alas, this is a major horror-movie no-no, and Chucky staggers obnoxiously back to life, with a renewed interest in body-swapping with Andy. Not awful as horror sequels go, this follows the standard horror-franchise formula (such as upping the gore quotient with each sequel) but manages to throw in a few appreciable scares, particularly at the climax (which echoes that of Stanley Kubrick's The Shining).


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