Eighteen-year-old Ian Lafferty sets out on a cross country drive with his best friends Lance and Felicia in order to lose his virginity to a red-hot babe he met on the Internet. But the journey, filled with hilarious misadventures and raunchy escapades, teaches all three more than they expected about life and love. Randy, raucous and unexpectedly romantic, Sex Drive follows three friends on the road trip of a lifetime!
Ian Lafferty (Josh Zuckerman) can't seem to catch a break. He's taunted by his cocksure older brother Rex (James Marsden), shown up in the romance department by his 14-year-old younger brother and humiliated by his job at a mall donut shop. But Ian's biggest problem is that he's about to start college as a virgin!
Getting nowhere with the girl of his dreams and longtime best friend Felicia (Amanda Crew), Ian resorts to the Internet for dates. He soon hooks up with Ms. Tasty, a flaming hot blonde who can't wait to get busy. The only catch: Ian has to drive 500 miles from Chicago to Knoxville to consummate the deal.
Egged on by his devil-may-care pal Lance (Clark Duke), Ian risks life and limb by appropriating The Judge, Rex's prized vintage Pontiac GTO. With Lance and Felicia in tow, he hits the road for a one-time rendezvous that will rock his world!
Car trouble, a stint in the pokey, a buggy tow with an Amish farmer (Seth Green) and an afternoon at a roadside carnival all complicate Ian's journey. As he presses on to get to Knoxville before Ms. Tasty gives up and goes home, the trio's trail of mayhem closes in on them with hilarious consequences. Will Rex find Ian before he reaches Nirvana? Will a cuckolded husband exact revenge on Lance just as he seems to have found true love? Will Ms. Tasty live up to her Internet profile? Will Ian realize what he really wants? And most importantly, Will Ian, Felicia and Lance survive the bumpy road to adulthood with all its unexpected twists and turns?
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All Gods Children Can Dance (2007)
In Korea Town Los Angeles, a young man, Kengo, believes he's the son of God - that's what his mother told him since he was a young boy. He spends his days working his dead-end job and figuring out his complex feelings for his girlfriend until, one day, he sees a one-eared man who could be his father and decides to follow him around Los Angeles.
Directed By: Robert Logevall
Starring: Joan Chen, Jason Lew, Sonja Kinski
Hunger (2008)
The film stars Michael Fassbender as Bobby Sands, the Provisional Irish Republican Army (IRA) (Bobby Sands was not a member of the IRA he was a member of the Irish National Liberation Army but acted with the IRA as part of a broader Irish Republican movement within the Long Kesh prison where this movie occurs) member who led the 1981 Irish hunger strike and participated in the no wash protest (led by Brendan "The Dark" Hughes) in which Republican prisoners tried to win political status. It dramatises events in the Maze prison in the six weeks prior to Sands death.
The film opens with prison guard, Raymond Lohan (Stuart Graham) preparing to leave for work; checking under his car for bombs, putting on his uniform in the locker room and ignoring the camaraderie of his colleagues.
Davey (Brian Milligan), a new IRA prisoner arrives at the gaol, following his refusal to wear the prison uniform, he is labeled "non-cooperative." His new roommate, Gerry (Liam McMahon), has smeared the cell with faeces from floor to ceiling and we witness their resistance to the prison regime.
Sands is the focus of the film. He deeply believes in the cause that he was imprisoned for and in the righteousness of dying for political prisoner status. In one of the film's most notable scenes Sands debates the morality of the hunger strike with a visiting priest (Liam Cunningham).
Yet to be released in the UK [31st October 2008], the film has premiered at Cannes, where it opened the official sidebar section, Un Certain Regard, sparking both walkouts and a standing ovation.
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Seven Pounds
“Seven Pounds,” which reunites Will Smith with Gabriele Muccino (who directed him in “The Pursuit of Happyness”), begins with a series of riddling, chronologically scrambled scenes. A man calls 911 to report his own suicide. He badgers a blind call-center employee — whom we suspect will be a significant character, since he’s played by Woody Harrelson — with complaints and insults. He embraces a lovely woman in an even lovelier beach house. He visits a nursing home where he terrorizes an administrator and comforts a resident.
For a while it is pleasant enough to contemplate these loose ends, and to tease from them the possible contours of a story. It is never unpleasant to watch Mr. Smith, who likes to play peekaboo with his charm, hiding it now and then behind fleeting shadows of anguish or malice. The music (Angelo Milli’s score and a handful of emotive pop songs) combines with the deep colors of Philippe Le Sourd’s cinematography to summon up intensities of sentiment not yet arrived at by the narrative, creating an interesting frisson of suspense. After a while, though, as the pieces of the puzzle snap together, curiosity gives way to incredulity.
Near the end of “Seven Pounds” a carefully laminated piece of paper appears, on which someone has written, “DO NOT TOUCH THE JELLYFISH.” I wouldn’t dream of it, and I’ll take the message as a warning not to divulge the astonishing things that happen, not all of them involving aquatic creatures.
Frankly, though, I don’t see how any review could really spoil what may be among the most transcendently, eye-poppingly, call-your-friend-ranting-in-the-middle-of-the-night-just-to-go-over-it-one-more-time crazily awful motion pictures ever made. I would tell you to go out and see it for yourself, but you might take that as a recommendation rather than a plea for corroboration. Did I really see what I thought I saw?
And I wish I could spell out just what that was, but you wouldn’t believe me, and the people at Sony might not invite me to any more screenings. So instead of spelling out what happens in “Seven Pounds,” I’ll just pluck a few key words and phrases from my notes, and arrange them in the kind of artful disorder Mr. Muccino seems to favor (feel free to start crying any time):
Eggplant parmesan. Printing press. Lung. Bone marrow. Eye transplant. Rosario Dawson. Great Dane. Banana peel. Jellyfish (but you knew that already). Car accident. Congestive heart failure.
Huh? What the ... ? Hang on. What’s he doing? Why? Who does he think he is? Jesus! That last, by the way, is not an exclamation of shock but rather an answer to the preceding question, posed with reference to Mr. Smith. Lately he has taken so eagerly to roles predicated on heroism and world-saving self-sacrifice — see “I Am Legend” and “Hancock” — that you may wonder if he has a messiah clause in his contract. Which is not to say that he doesn’t show range in these films, in which he credibly plays a research scientist, a dissolute superhero and, in this latest one, an I.R.S. agent.
An I.R.S. agent who wants only to help people. This is a nice, small joke that provides a few grace notes of levity in what is otherwise a lugubrious exercise in spiritual bushwa. For all its pious, earnest air, “Seven Pounds” cries out to be remade as an Asian horror movie, so that the deep, creepy grotesqueness of its governing premise might be allowed to flourish, rather than to fester beneath the surface.
As it is, the movie is basically an inverted, twisted tale of revenge. Ben Thomas, Mr. Smith’s character, is in essence a benevolent vigilante, harassing, stalking and spying on unsuspecting citizens for their own good, and also to punish himself. Why such misery should also be inflicted on an innocent, affirmation-hungry audience — and also on the marvelous Ms. Dawson, who plays one of Ben’s victim-beneficiaries — is another matter entirely.
But maybe I’m approaching this in the wrong way. Maybe “Seven Pounds” isn’t a spiritual parable about redemption or forgiveness or salvation or whatever, but rather a collection of practical lessons. Don’t drive while using a BlackBerry. Fertilize your rose bushes with banana peels — sorry, that was a spoiler. But please, whatever you do, don’t touch the jellyfish.
I’m serious. Don’t.
“Seven Pounds” is rated PG-13 (Parents strongly cautioned). Swearing. Soulful sex by candlelight. Car accident. Eggplant parmesan.
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High School Musical 3 Senior Year
It's the end of the Wildcats' championship basketball game against the West High Knights, where team captain Troy (Zac Efron) immediately rallies their spirits (Now or Never). With the teams' spirit raised, they win, thanks to the winning shot from their newest team member Jimmie "The Rocket" Zara (Matt Prokop). Later, at Troy's after-match party at his house, Troy and Gabriella (Vanessa Hudgens) are seen thinking about their future and wishing that their last few months at East High would not end (Right Here, Right Now). Meanwhile, Sharpay (Ashley Tisdale) meets Tiara Gold (Jemma McKenzie-Brown), a British exchange student whom she hires to be her personal assistant.
When drama teacher Ms. Darbus (Alyson Reed) notices that there were so few sign-ups for the spring musical, Sharpay suggests she could do a one-woman show. This alarms Kelsi (Olesya Rulin), who is writing the show, so she signs up almost everyone in the class for it instead. This results in Ms. Darbus announcing they will create a play about their final days at East High. In addition, she reveals that Sharpay, Ryan (Lucas Grabeel), Kelsi, and Troy have all been considered for a scholarship at Julliard, but only one of them is to be chosen. Sharpay becomes desperate to win the scholarship, and knowing that Kelsi will give the best songs to Troy and Gabriella in the musical, she gets Ryan to try to persuade Kelsi to give them a song, by predicting her (and Ryan's) future (I Want It All).
The next day, Gabriella and Troy meet on the rooftop and she teaches him how to waltz (Can I Have This Dance). Chad (Corbin Bleu) then asks Taylor (Monique Coleman) to go to prom with him. She initially refuses due to his lack of enthusiasm, but later agrees when Chad proves he can put in some effort and asks again in front of half the school. The group rehearse for the musical, a scene about their prom night (A Night to Remember). Meanwhile, Ryan walks in on Kelsi composing (Just Wanna Be with You) in the music room, and performs it with her, and then he asks her to prom halfway through. While Troy and Chad reminisce about their past (The Boys Are Back), Sharpay and Tiara discover that Gabriella has a chance to go to college early. Sharpay later convinces Troy that he is the only thing keeping Gabriella from her dream. Troy talks to Gabriella about this over pizza, and after sharing an awkward goodnight, Gabriella (Walk Away) leaves for college the next day.
Troy's dad, Jack (Bart Johnson), talks to him about his academic future. Troy becomes angry, confused, and runs away, storming around East High confused (Scream) until he finally screams at the top of his lungs in the theatre. Ms. Darbus is in the theatre and reveals that she sent in his application for Julliard, as she knew how comfortable he was on stage and how much he liked it. Troy takes no offense and thinks about the advice given to him. Troy later gets a call from Gabriella saying she won't return to Albuquerque, as she is too used to being away. However, on the night of prom, Troy visits Gabriella at Stanford and convinces her to return, as everyone isn't the same without her.
Back at East High, Jimmie receives a text from Troy to tell him to cover for him onstage because he is going to be late. The Julliard representatives are there, and watch as the show seems to go well, (Senior Year Spring Musical). During the opening number, Kelsi and Ryan debut. While during the second number, Chad, Jason (Ryne Sanborn), Zeke (Chris Warren Jr.) and Martha (Kaycee Stroh) debut, Ryan does his number with the many chorus girls, Jimmie then performs with Sharpay, receiving his own standing ovation. Troy and Gabriella appear during the second half of the show and sing their duet together. Tiara then betrays Sharpay and tells her how she is going to take over next year in the drama department. Sharpay finally learns how it feels to be humiliated, but does not wish to go down. While Tiara performs, Sharpay immediately crashes her performance and shows her up.
Ms. Darbus reveals that both Kelsi and Ryan have won the Julliard scholarship (We're All in This Together (Graduation Mix)). Taylor will go to Yale University; Sharpay will go to University of Albuquerque and will assist Ms. Darbus in running the drama department in the fall. Troy decides to go to the University of California, Berkeley, where he can play basketball, study drama, and be close to Gabriella. After learning about Troy's decision, Chad runs offstage and into the school gym. There he and Troy work things out and learn that their college's basketball teams will play each other the upcoming fall.
At the graduation ceremony, Troy gives the class speech. Throwing their caps in the air, the graduates form a giant wildcat before breaking out into song and dance (High School Musical). The six friends walk down the field where a curtain closes off the graduation ceremony and turns into a stage. The six stars do their signature jump and then the camera does a close up of each actor. They take their final bow as the curtain closes.
Revolutionary Road
Set in 1955, the plot focuses on the hopes and aspirations of self-assured Frank and April Wheeler, who forsake life in the city in order to raise their children in the Connecticut suburbs, where they see themselves as very different from their neighbors in the Revolutionary Hill Estates.
April is an aspiring actress who yearns to move to Paris, and Frank initially likes the idea. But when the healthy salary increase connected to a promotion at the corporation he despises makes the job easier to bear, he becomes less enamored with his wife's dream. He begins drinking too heavily and engages in an affair with co-worker Maureen Grube in celebration of his 30th birthday, while April has a tryst of her own with neighbor Shep Campbell.
As the Wheelers try to free themselves from their dull existence, their marriage slowly dissolves into an endless cycle of bitter arguments and jealous recriminations while they struggle to maintain a facade of domestic bliss. Only John Givings, the clinically insane son of local realtor Helen and her husband Howard, is able to see what's simmering beneath their surface.
Revolutionary Road is a 2008 British/American drama film directed by Sam Mendes. The screenplay by Justin Haythe is based on the 1961 novel of the same name by Richard Yates. The film is scheduled to be released in the United States on December 26, 2008.
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Herbie: Fully Loaded
"You can take the car out of the junkyard, but you can't take the junkyard out of the car," growls Trip Murphy (Matt Dillon), an arrogant stock-car racing champion whose supremacy has been seriously challenged by a souped-up 1963 Volkswagen Beetle and its plucky driver, Maggie Peyton (Lindsay Lohan). Trip, the designated villain in "Herbie: Fully Loaded," eventually comes to believe that the upstart Beetle is demonically possessed. "It's alive!" he screams as men in white coats drag him into the back of an ambulance. But Trip isn't crazy.
"Herbie: Fully Loaded," which opens nationwide today, is a perfectly silly movie for a silly season that in recent years has forgotten how to be this silly. Directed by Angela Robinson, this latest installment in the movie-television franchise about a tiny car named Herbie with a will of its own and the temperament of a rambunctious 7-year-old knows exactly what it is and what it isn't.
What it is is "The Love Bug" for the Nascar generation, with a charismatic teenage star at the wheel. This G-rated movie comfortably blends the cutesy mannerisms and well-scrubbed wholesomeness of that late-60's Disney hit with the vroom of today. Never for a moment, even during the racing sequences, does it pretend to be real.
What "Herbie: Fully Loaded" isn't is a movie to be taken seriously, unless you consider Ms. Lohan's Maggie, who defies her father, Ray Sr. (Michael Keaton), to race Herbie, a feminist role model for tweener girls. In the original "Love Bug," Herbie salvaged the career of a fading race-car driver, played by Dean Jones, by driving him to victory. In "Fully Loaded," Maggie salvages Herbie from a junkyard with $75 given to her as a college graduation present. Later, she saves him from destruction at a demolition derby, just as the battered little bug is about to be chewed up by a gargantuan truck with metal teeth.
As in so many Disney films, the signals are shrewdly mixed. Though Maggie triumphs in the ultramacho world of Nascar, her victory comes at a price. As the story begins, she arrives at her college graduation by skateboard at the last minute. The first person in a family of stock car racers to finish college, she is looking forward to moving to New York to work as an assistant at ESPN.
As in another Disney film released this year, "Ice Princess," the heroine is forced to choose between short-term sports stardom and a long-term career investment that makes use of her education. (In "Ice Princess" the choice is between the rink and college.) It's not much of surprise that in an era in which everyone is supposedly entitled to his or her 15 minutes of fame, stardom wins.
It helps that Ms. Lohan, unlike the pallid Michelle Trachtenberg in "Ice Princess," is a genuine star who combines a tomboyish spunk with a sexy, head-turning strut, executed with minimal self-consciousness. Likable but never saccharine, confident but not snooty, and endowed with the natural freckled-faced beauty of an 18-year-old Everywoman, Ms. Lohan seems completely at home on the screen.
If she were not its star, "Herbie: Fully Loaded" would have to rely on stock mechanical gimmickry for its appeal and on the reassuring but recycled image of a little car that can outrun the big guys. Herbie spits oil into the faces of his detractors and bops them with doors that suddenly swing open with alarming force. He bleats his horn in furious protest, flirts with his headlights and, to the sounds of Lionel Richie's "Hello," nuzzles up to a sleek yellow sports car, bumper to bumper.
In one contest, he streaks to victory on a guardrail. In another, he makes a sudden leap to the sounds of Van Halen's "Jump." If the movie is a big hit, it could signal the waning of the sport utility vehicle era; or not.
After some tension and misunderstanding, Ms. Lohan and Herbie eventually form a bond of trust. Once upon a time, it used to be a girl and her horse. Now it's a girl and the car that drives her.
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