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\n\t\t\t\tNighthawks<\/a>\n\t\t\t[1 clip]<\/span>
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\n\t\t\t\t\t\t\t\t\t\tKen Robertson<\/a>\n\t\t\t\t\t\t\t\t\t<\/td>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/tr>\n\t\t\t\t\t\t\t<\/table>\n\t\t\t\t\n\t\t\t\t\t\tThis Sylvester Stallone movie may be his best because, unlike most of his more famous roles over the years, this is very believable. He isn't Rambo or Rocky...just a tough New York City cop.\r\n\r\nStallone and partner Billy Dee Williams team up in an attempt to stop a terrifying international terrorist (Rutger Hauer) before he kills more people. All three of those actors are riveting in this rough, gritty film.\r\n\r\nI thought so much of this movie that I bought it twice. The first DVD that came out was fullscreen, no stereo and grainy. Later, they issued a better widescreen print and it was worth upgrading. The movie is a top-notch thriller start-to-finish and Hauer makes an outstanding villain.\r\n\r\nIt might be a clich\u00e9 but this film always \"kept m on the edge of my seat. \" <\/span>\n\t\t\t\t\t\t
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\n\t\t\t\tEl Calentito<\/a>\n\t\t\t[2 clips]<\/span>
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\n\t\t\t\t\t\t\t\t\t\tVer\u00f3nica S\u00e1nchez<\/a>\n\t\t\t\t\t\t\t\t\t<\/td>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t

\n\t\t\t\t\t\t\t\t\t\tRuth Diaz<\/a>\n\t\t\t\t\t\t\t\t\t<\/td>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/tr>\n\t\t\t\t\t\t\t<\/table>\n\t\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t
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\n\t\t\t\tHard<\/a>\n\t\t\t[2 clips]<\/span>
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\n\t\t\t\t\t\t\t\t\t\tNoel Palomaria<\/a>\n\t\t\t\t\t\t\t\t\t<\/td>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/tr>\n\t\t\t\t\t\t\t<\/table>\n\t\t\t\t\n\t\t\t\t\t\t\"Hard\" is about the hard life & times of its characters, and its is hard to watch. I generally don't like murder movies, and definitely don't like graphic violence, blood & gore. But, I liked this movie.\r\n\r\nThe version I saw was the 2005 re-released DVD Directors Uncut Version, unrated. Some of the sex and violence scenes edited out of the theatrical release are restored. Pretty good production quality. Some of the acting can be wooden. Certainly not the most pleasant movie I ever watched, but was one of the most interesting.\r\n\r\nAs other reviewers indicate, it's a movie about a gay serial killer and his pursuit by a closeted gay policeman. The message is about homophobia and self loathing. I recommend you give it a try, but don't watch it alone late at night! <\/span>\n\t\t\t\t\t\t
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\n\t\t\t\tThe Chatterley Affair<\/a>\n\t\t\t[4 clips]<\/span>
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\n\t\t\t\t\t\t\t\t\t\tLouise Delamere<\/a>\n\t\t\t\t\t\t\t\t\t<\/td>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t

\n\t\t\t\t\t\t\t\t\t\tRafe Spall<\/a>\n\t\t\t\t\t\t\t\t\t<\/td>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/tr>\n\t\t\t\t\t\t\t<\/table>\n\t\t\t\t\n\t\t\t\t\t\tBrilliant acting, photography, dialogue, you name it. This is a fantastic production from the BBC and Andrew Davies does it again with his great screen writing. Rafe Spall is wonderful as Keith, providing a sensitive and genuine spark of reality into his performance. Definitely a talent to watch. The actor who plays Keith as an old man also deserves an award for being absolutely believable. The action centres around the obscenity trial for D. H. Lawrence's 'Lady Chatterly's Lover', where two of the fictitious jurors find the book somewhat inspirational. Like the book, the programme doesn't modestly shy away from sex scenes. Instead they are quite graphic and clear, and yet they are in no way smutty or gratuitous. They are an integral part of the story and it is an artistically brave choice to have included them. This is a great production and will be one of the BBC's classics.<\/span>\n\t\t\t\t\t\t
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\n\t\t\t\tThe Chatterley Affair<\/a>\n\t\t\t[4 clips]<\/span>
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\n\t\t\t\tSex and the City (2008)<\/a>\n\t\t\t[5 clips]<\/span>
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\n\t\t\t\t\t\t\t\t\t\tDavid Eigenberg<\/a>\n\t\t\t\t\t\t\t\t\t<\/td>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t

\n\t\t\t\t\t\t\t\t\t\tKim Cattrall<\/a>\n\t\t\t\t\t\t\t\t\t<\/td>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t

\n\t\t\t\t\t\t\t\t\t\tVictor Webster<\/a>\n\t\t\t\t\t\t\t\t\t<\/td>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/tr>\n\t\t\t\t\t\t\t\t

\n\t\t\t\t\t\t\t\t\t\tJason Lewis<\/a>\n\t\t\t\t\t\t\t\t\t<\/td>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t

\n\t\t\t\t\t\t\t\t\t\tGilles Marini<\/a>\n\t\t\t\t\t\t\t\t\t<\/td>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/tr>\n\t\t\t\t\t\t\t<\/table>\n\t\t\t\t\n\t\t\t\t\t\tI learn something new everyday. Here I thought the feature adaptation of the immensely popular HBO show \"Sex and the City\" was written and directed by its creator Michael Patrick King. After a little research, I come to find that King was only a producer on the show, with only 31 writing credits as opposed to the full 94 for real creator Darren Star and literary basis Candace Bushnell. Despite this, though, it would seem that King is now the driving force behind Carrie Bradshaw and friends, becoming the voice of middle-aged women everywhere. Isn't it a bit strange that a man has written these women to be as pop culture iconic as they are? Kudos to him, because Bradshaw's opening monologue to the Sex and the City movie is very appropriate\u2014this story is about labels and love in New York City. Thankfully, that's not all its about; in the end, the tale is actually intelligently written and quite witty, causing this cynical male to laugh and smile more times than he ever could have imagined.\r\n\r\nSarah Jessica Parker truly does embody Bradshaw to perfection. Being that it all happens through her point of view, (even when she isn't present at the event on screen, she is still the one narrating; believable I guess since this quartet tells each other EVERYTHING), it is crucial that her character lives and breathes reality. A writer of moderate success, she is happily in love with manfriend Mr. Big, (I do enjoy Chris Noth, I don't know why, never seen \"Law and Order\", his smugness just makes me smile though), and threatens to throw her whole existence out the window with the biggest business deal she's ever shook on, with him as a partner\u2014marriage.\r\n\r\nThe whole will they or won't they, stay together\/break-up\/get married, is actually the most conventional and boring part of the film. This storyline is the quintessential chick flick clich\u00e9 and it does what it does without surprise. Spanning over a year in time, I did enjoy the six months these two lovebirds are apart, because that is when the proverbial sh*t hits the fan in all their lives. Parker shows some very nice range as the downtrodden, heartbroken waif attempting to pull herself back up and become that strong woman so many viewers idolize and hope to be. But this isn't the Carrie Bradshaw story, thankfully, because that would have been torture. It is about four women and the different places their lives are at; how they help each other; and how they balance being the women they've strived to be while still having a relationship with equally successful males. It's these stories that truly captivated me into accepting the fact that, while Sex and the City is not my genre, topic, or even sphere of consciousness of choice, it did engross me enough to be happy to have seen it.\r\n\r\nKristin Davis is very enjoyable as Charlotte, the youngster of the bunch in her mid-thirties. With such a bubbly and childlike demeanor and attitude, her zeal for life is contagious and something I think everyone strives for. Being that her mid-movie meltdown concerns having too much good happen to her, making the \"inevitable\" fall too daunting to imagine, you can see how truly happy she is, especially with husband Evan Handler, (one of the gems in \"Californication\" and unfortunately wasted here, much like Willie Garson's Stanford who is nothing more than a prop for the background). Cynthia Nixon, on-the-other-hand, is the exact opposite. A lover of sex and promiscuity, she finds herself in a relationship with a younger male that loves her dearly, but the monogamy is too much to deal with. She isn't ready to realize that being with one man in a relationship does not mean she has become dependant on him. The need for multiple men, to be in full control, is so ingrained that she must find a love for herself\u2014a balance with her body\u2014before she can ever commit to someone else. How can one love if unable to love oneself? It is the age-old question and one that she needs to come to grips with soon, as she turns 50\u2014either to accept or change.\r\n\r\nThe storyline that really grabbed my attention, though, was of Miranda Hobbes, played wonderfully by Cynthia Nixon. Here is a career-driven lawyer that has compromised herself in order to make a life with husband Steve and child Brady. Whoa, I just realized the husband is Steve Brady and the son Brady Hobbes \u2026 guess you have to watch the show to understand that one. Anyways, it is their intriguing evolution as a couple that I found myself wanting to be resolved the most. Whether the two got back together, after a short separation due to his indiscretion, or not, I found myself invested in the subplot. The acting, on the part of both characters, was real and palpable. The love mixed with a loss of trust shone through and you will find yourself pulling for them in the end. Why you ask? Because this film isn't only about labels and love\u2014just don't tell Jennifer Hudson since her Louise cares only about each\u2014but also forgiveness.\r\n\r\nThis isn't high school where grudges rule and you most likely will move on to never see any of your classmates again; this is a professional world with intelligent and capable women. Life is too messy and too short to go through it with hatred and regret. Bad things happen and you can either walk away, letting them despite what you feel, or fight tooth and nail for everything you want and deserve. Sometimes those tough patches are merely bumps in the road to true bliss, but you have to be willing to find out for sure. And that, I believe, is the real moral behind this story\u2014happiness does come with a price, and even though it may cost a fortune, it most definitely will be worth every penny. <\/span>\n\t\t\t\t\t\t
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\n\t\t\t\tRun, Fatboy, Run<\/a>\n\t\t\t[1 clip]<\/span>
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\n\t\t\t\t\t\t\t\t\t\tHank Azaria<\/a>\n\t\t\t\t\t\t\t\t\t<\/td>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/tr>\n\t\t\t\t\t\t\t<\/table>\n\t\t\t\t\n\t\t\t\t\t\tOccasionally when editors send reviewers a list of new and upcoming films, a kind a war-weariness can set in: even more so when one's gut feeling suggests an obvious divide between worthwhile cinema and the barrage of rather missable comedy. Even more so when a film in question has not risked journalistic censure by having an advance press screening. I am not one of the many people who thrilled excitedly to Simon Pegg's efforts in Shaun of the Dead or Hot Fuzz. And I was even less impressed the last time he joined forces with David Schwimmer in Big Nothing. So it was with a feeling almost of self-sacrifice that I volunteered to sit through Run, Fat Boy, Run. Which doesn't even have car chases or zombies to recommend it.\r\n\r\nThe surprise was that it is actually quite good.\r\n\r\nSimon Pegg studied drama at university but earned his spurs in working life as a stand-up comedian. Which perhaps explains why his timing is so split-second perfect. The gags in Run, Fat Boy, Run are not that remarkable. At times you can even see them coming. But the performance and skillful delivery is so polished that they are entertaining anyway.\r\n\r\nRun, Fat Boy, Run uses a formula that has served Pegg and his growing fan base well: he is the nerd who eventually turns hero. We feel sorry for him, irritated by him, repelled by him. He's the well-meaning hopeless case we just want to 'fix'. So the audience is relieved and rooting for him by the time he makes good. We are fully behind him by the time he makes his resolve that he is \"sick of being a 'nearly-man'.\" In this present incarnation, Pegg (Dennis) has an attack of nerves just before getting married. He runs out on his gorgeous wife-to-be Libby (played by Thandie Newton) - literally - running off as she stands in the road in full bridal dress. And pregnant.\r\n\r\nFive years later, Dennis is working as a security guard at a women's clothing store. The predictable jokes are spoon-fed us faultlessly. Pegg rescues any situation that threatens to become too silly by a look of open sincerity (rather like Ricky Gervais does with political humour). But Pegg seems to have an instinctual grasp of cinema that enables him to extract the best results from his material. On a hot Saturday afternoon, and with strong competition from much publicised movies, the auditorium was fairly packed.\r\n\r\nThe second theme from the film's title comes from Dennis' decision to run the London marathon. This is mostly to 'prove' something to Libby (for whom he has now discovered undying love) but also to win a bet for his mates and to prove himself equal to Libby's super-fit, super-rich, super-handsome suitor, Whit. His five-year old son provides the magic glue to pull all the elements of the story together.\r\n\r\nIn a wise choice, the filmmakers avoid anything that might belittle the Marathon (given that many UK viewers may have a deep respect for the institution). But they also bring in much underused and very photogenic shots of London en-route - particularly the Docklands area.\r\n\r\nWith such a vanilla story line, Run, Fat Boy, Run is relying on Pegg's reputation to pull in audiences. I suspect that many of his fans may be occasional movie-goers who simply demand something light and untaxing. He has the ability to make a futile chase after stolen women's underwear amusing. When he seems to be rubbing himself off against a shop mannequin it could be a pathetic or tacky sketch in any other hands, but his wide-eyed expression and fast pacing move us from one joke to the next before we have time to analyse.\r\n\r\nI wasn't bored. And I had expected to be. In fact I was laughing loudly. It reminded me of when JM Barrie had planted children in the audience of his first performance of Peter Pan. It helps to be in the company of people who see the joke. Run, Fat Boy, Run has not made me a convert to Pegg's brand of humour even if I enjoyed the film, but I have to admit that he is good at his job. Sometimes it is the difference between a sterile press screening and an audience of fans. On this occasion, marketing gets the benefit of the doubt. <\/span>\n\t\t\t\t\t\t
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\n\t\t\t\tBug<\/a>\n\t\t\t[1 clip]<\/span>
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\n\t\t\t\t\t\t\t\t\t\tMichael Shannon<\/a>\n\t\t\t\t\t\t\t\t\t<\/td>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/tr>\n\t\t\t\t\t\t\t<\/table>\n\t\t\t\t\n\t\t\t\t\t\tCertainly not for everyone...but if you appreciate completely unique and intense cinema...check it out. I am so impressed by Ashley Judd, who I always liked, but had no idea of her range and courage. The film is very disturbing...I would describe it as a dark comedy that gets darker and darker and darker...calling it horror is too limited although there are horror elements to it. It reminds me of Cronenberg or early Polanski (Repulsion). But comparisons don't really do it justice. It's exciting to see that there are directors that still have guts. I was exhilarated and disturbed by the end of this film. I recommend it highly to anyone who wants something different and powerful.<\/span>\n\t\t\t\t\t\t
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\n\t\t\t\tBack of Beyond<\/a>\n\t\t\t[2 clips]<\/span>
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\n\t\t\t\t\t\t\t\t\t\tDee Smart<\/a>\n\t\t\t\t\t\t\t\t\t<\/td>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/tr>\n\t\t\t\t\t\t\t<\/table>\n\t\t\t\t\n\t\t\t\t\t\t\"Back of Beyond\" takes place at a dive diner\/gas station in the middle of the Australian desert run by Tom McGregor (Paul Mercurio), a shy guy who suddenly finds himself in a spot of trouble when some visitors unexpectedly arrive. We get what, at first, confusingly seems like a flashback in which he and his sister (though their relationship to each other is better understood later in the film) are speeding through the desert on his motorcycle. Afterwards, he appears as a terribly quiet, and sometimes, moody character in the presence of the arrivals.\r\n\r\nWe know one thing is for sure and that is McGregor's sort of spiritual sense, his foresight of danger and such--his clairvoyance only slightly relevant to the story, the bulk of which concerns three diamond thieves who's car breaks down and who rely on Tom to help them out of spot without getting in their way. Of course, Tom falls for one of the thieves, a young woman named Charlie, and suddenly, it pits all three already mistrusting allies against each other. But not in a way that really results in anything of much mystery or action. In fact, the whole movie all the while seems to want to build up to something significant, but really fails to do so. Even the ending, of which plays out like a trite campfire tale (and one that really reveals a lot of narrative flaws), is almost just as ridiculous.\r\n\r\nIt may be worth trying if you don't mind the terribly slow pacing, but are in the mood, at least, for something a little different than the usual. <\/span>\n\t\t\t\t\t\t
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\n\t\t\t\tFast Track: No Limits<\/a>\n\t\t\t[2 clips]<\/span>
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\n\t\t\t\t\t\t\t\t\t\tErin Cahill<\/a>\n\t\t\t\t\t\t\t\t\t<\/td>\n\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/tr>\n\t\t\t\t\t\t\t<\/table>\n\t\t\t\t\n\t\t\t\t\t\tArgue all you want that its a fast & furious clone, but take the time to recognize this movie on its own merits. Budget was obviously an issue in this film and anyone who is into the street racing scene or racing in general will realize the obvious plot holes, but as pure entertainment this flick is a standout. Lots of adrenaline rush scenes and sexy hot action with actors and actresses who despite knowing that there will be no Oscars for their performances put their all into it. to sum it up....you've seen this flick before in one guise or the next, but don't let that stop you from spending some time with Fast Track: No Limits...its not a great time, but its worth the admission price. <\/span>\n\t\t\t\t\t\t
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