Knocked Up --
Allison Scott is an up and coming entertainment
journalist whose 24 year old life is on the fast track. But it gets
seriously derailed when a drunken night with slacker Ben Stone results
in an unwanted pregnancy. Faced with the prospect of going it alone or
getting to know the baby’s father, Allison decides to give the lovable
goof a chance. An overgrown kid who has no desire to settle down, Ben
learns that he has a big decision to make with his kid’s mom to be:
will he hit the road or stay in the picture? Courting a woman you’ve
just Knocked Up, however, proves to be a little difficult when the two
try their hands at dating. As they discover more about one another, it
becomes painfully obvious that they’re not the soul mates they’d hoped
they might be. With Allison’s harried sister Debbie and hen pecked
brother in law Pete the only parenting role models the young lovers
have, things get even more confusing. Should they raise the baby
together? What makes a happy lifetime partnership after all? A couple
of drinks and one wild night later, they've got nine confusing months
to figure it out.
Rated R for sexual content, drug use and language.
David Lynch delivers his most avant garde,
abstract, and impenetrable vision yet. A three hour fever nightmare of
a motion picture, INLAND EMPIRE takes the basic structure of Lynch's
2001 masterpiece, MULHOLLAND DRIVE, and spins it even further out of
control. A blonde actress is preparing for her biggest role yet, but
when she finds herself falling for her co star, she realizes that her
life is beginning to mimic the fictional film that they're shooting.
Adding to her confusion is the revelation that the current film is a
remake of a doomed Polish production, 47, which was never finished due
to an unspeakable tragedy. And that's the only the beginning. Soon, a
seemingly endless onslaught of indescribably bizarre situations flashes
across the screen: a sitcom featuring humans in bunny suits, a parallel
story set in a wintry Poland, a houseful of dancing streetwalkers,
screwdrivers in stomachs, menacing Polish carnies, and much, much more.
By the time the film's electrifying closing credit sequence arrives,
even diehard Lynch fans will be gasping for air. What most glaringly
differentiates INLAND EMPIRE from Lynch's previous work is the format
on which it was shot. This is the first time that he has chosen to
shoot on digital video, as opposed to film, and while the decision is
jarring at first, the grainy imagery nonetheless casts a creepy,
haunting spell. Laura Dern's multi fractured performance is downright
heroic. She gives the film the human grounding that it so desperately
needs. Not for the fragile or timid, INLAND EMPIRE is a full-blown
assault to the senses.
Dutch filmmaker Paul Verhoeven made his name in
Hollywood with films such as ROBOCOP, BASIC INSTINCT, and STARSHIP
TROOPERS. But Verhoeven got his start in the industry by making films
in his native country, and it's to Holland that he returns for BLACK
BOOK; his first Dutch film in 20 years. The story is set during the
final days of World War II in Holland, and follows a Jewish singer
named Rachel Stein. Rachel attempts to avoid the Nazis and remains in
quiet hiding until her family is brutally slain, causing her to join up
with a resistance movement. On a subsequent undercover mission, Rachel
crosses paths with a smitten German general named Ludwig Muntze, with
whom Rachel begins a relationship in order to feed vital information
back to her colleagues in the resistance. But as the action and
bloodshed escalate, Rachel realizes that she has genuine feelings for
Muntze, and soon she is in enormous danger. Verhoeven's film is wildly
ambitious and takes many intriguing twists and turns during its 145
minutes. BLACK BOOK commanded the largest budget of any film to be
produced in Holland, and it shows. Explosions litter the screen, plenty
of car chases ensue, and wince inducing injuries and deaths propel the
action. The director isn't afraid to criticize his fellow countrymen
and inserts a fascinating subtext about the actions of the resistance
fighters, asking some uncomfortable questions about the similarities
between their behavior and that of the Nazis. Van Houten lights up the
screen throughout and is surely destined for bigger things, and while
the tumultuous experiences her character undergoes might push the
boundaries of reality at times, Verhoeven has pointed out in interviews
that Rachel is a composite character who encompasses the merged
experiences of many real people from the era.
Rated R for some strong violence, graphic nudity, sexuality and language.
Bug --
A lonely waitress with a tragic past, Agnes
rooms in a run down motel, living in fear of her abusive, recently
paroled ex husband. But when Agnes begins a tentative romance with
Peter, an eccentric, nervous drifter, she starts to feel hopeful again;
until the first bugs arrive.
Rated R for some strong violence, sexuality, nudity, language and drug use.
The Lookout --
Chris, a once promising high school athlete, has
his life turned upside down after a tragic accident. As he tries to
maintain a normal life, he takes a job as a janitor at a bank where he
ultimately finds himself caught up in a planned heist.
Rated R for language, some violence and sexual content.
Next --
Las Vegas showroom magician Cris Johnson has a
secret which is a gift and a curse which torments him: he can see a few
minutes into the future. Sick of the examinations he underwent as a
child and the interest of the government and medical establishment in
his power, he lies low under an assumed name in Vegas, performing cheap
tricks and living off small time gambling winnings. But when a
terrorist group threatens to detonate a nuclear device in Los Angeles,
government agent Callie Ferris must use all her wiles to capture Cris
and convince him to help her stop the cataclysm.
Rated PG-13 for intense sequences of violent action, and some language.
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