The Deaths of Ian Stone offers the fest's most intriguing premise--after a terrible accident, a young man (Mike Vogel of Cloverfield) discovers that he is being reborn as different people, only to suffer an even worse fate with each reincarnation--though the reasons for his condition and the introduction of monsters to the story are ill-conceived and ill-advised. As for the remaining titles, Unearthed is simply Alien in the desert (ground already covered with panache by Feast), while Nightmare Man is a HD-lensed supernatural slasher from the usually reliable Rolfe Kanefsky (The Hazing) that's enlivened only by the presence of B-movie stalwart Tiffany Shepis. With so much varying quality in the entries, what the 2007 HorrorFest needed was a rock-solid entry by an established talent, like Nacho Cerda's The Abandoned and Takashi Shimuzi's Reincarnation, which! gave some spark to the 2006 festival. Judging by the tepid box office response to this series, stronger names or more careful selection of titles will be necessary for the HorrorFest to remain an annual event. Unlike the 2006 HorrorFest DVD releases, only a handful of the 2007 festival's discs offer extras. It seems odd that two of the weakest entries--Borderland and Nightmare Man--are the only discs to feature substantial supplemental features, including director and cast commentary, deleted scenes, and making-of featurettes, as well as a short documentary on Borderland about the true-life crimes that inspired the film. However, Nightmare Man's extras have a distinct edge thanks to the participation of Shepis, who brings a salty sense of humor to the commentary and also directs an amusing making-of featurette that elicits funny (and honest) responses from the cast and crew. Included on every disc are The Miss HorrorFest Webisodes, a wan collect! ion of reality show-style vignettes that follow a contest to f! ind the festival's new, scantily clad spokesmodel. -- Paul GaitaNo Description Available.
Genre: Horror
Rating: UN
Release Date: 8-JAN-2008
Media Type: DVDRecently widowed Karen Tunny and her two daughters, Sarah and Emma, move to a remote mountain home which Karen has inherited from the family of her late husband. However, she is unaware that the home is situated near an old mine, the site of an early 20th century tragedy in which many children where buried alive..
Mostly though, this thriller chronicles the beleaguered journalist's lame efforts to stay out of trouble. Starkey isn't exactly a man of action; in fact, he's a likable character partly because he knows he's a weak man. Late in the book, Starkey sums up his predicament: "The world was still after me, Patricia was still missing, I was still a killer on the run, and I had a disturbing tendency to burst into tears, but I wasn't going to let little things like that get me down." He copes with stress by 1) drinking too much and 2) making jokes. When a nun in a miniature car saves Starkey from a hail of gunfire, for instance, he spends a few moments wondering what the proper name of her headgear! is and decides to call it a Godpiece. Dan Starkey makes an e! ntertain ing guide to war-torn Northern Ireland, even while he discovers again and again that the pen is not mightier than the sword. --Jill MarquisDan Starkey is a young journalist in Belfast, who shares with his wife, Patricia, a prodigious appetite for drinking and dancing. Then Dan meets Margaret, a beautiful and apparently impoverished student, and things begin to get out of hand. And then, terrifyingly, Margaret is murdered. Is it because of her liaison with Dan? Is it because she was not exactly who she claimed to be? Is it the IRA? A Protestant extremist group? A jealous lover? Before long, Dan is a target himself, running as fast as he can in a race against time to crack the mystery and save his marriage.Hephaestus Books represents a new publishing paradigm, allowing disparate content sources to be curated into cohesive, relevant, and informative books. To date, this content has been curated from Wikipedia articles and images under Creative Commons licensing, althou! gh as Hephaestus Books continues to increase in scope and dimension, more licensed and public domain content is being added. We believe books such as this represent a new and exciting lexicon in the sharing of human knowledge. This particular book contains chapters focused on Cinema of Northern Ireland, Cinemas in Northern Ireland, Films set in Northern Ireland, Films set in Belfast, Films shot in Northern Ireland, Film festivals in Northern Ireland, Film directors from Northern Ireland, and Film actors from Northern Ireland.PRODUCT DESCRIPTION: At Moviestore we have an unbeatable range of both original and classic high quality reproduction movie posters. Movie poster art is a wonderful collectible item and great for home or office decor. We have been in business for 16 years so you can buy with confidence. Our guarantee - if you are not fully satisfied with your purchase from Moviestore we will gladly refund your money.
French Kiss: Meg ! Ryan emerges bloodied but unbowed from this botched comedy by Lawrence Kasdan (The Big Chill). Ryan plays a woman whose fiancé (Timothy Hutton) leaves her for a Parisian beauty. She jets over to the City of Lights to fight for her man, but an incapacitating fear of flying forces her to seek help from a fellow passenger, a French thief played by Kevin Kline, who then tutors her in the ways of getting her beau back. Kasdan seems incapable of pacing the story, let alone getting a firm grip on its comic tone and intentions. The production sputters and regroups and stalls repeatedly, forcing Ryan, particularly, to find the boundaries of her own screwball performance. --Tom Keogh
She's the One: Following the success of his spunky, 1995 directorial debut, The Brothers McMullen, Edward Burns suffers a little sophomore slump with this comedy about a pair of rivalrous brothers who get into bizarre relationships with women in a fierce but im! mature pursuit of happiness. When they find they both have a c! omplicat ed interest in the same woman (Cameron Diaz), things come to a head. The film is a little overwritten, undershot, bulky, slow, and static, but it is also funny and inventive--further proof that Burns knows his New York City beat as well as Woody Allen does. With Jennifer Aniston, Maxine Bahns, and John Mahoney. --Tom KeoghBuy Tokyo Milk Hand Creams & Sanitizers - Tokyo Milk Bon Bon Shea Butter Lotion 15 French Kiss 2.3 oz
And how does the Big Bang material (especially a long, trippy sequence in the film's first hour) tie into this material? Yes, well, the answer to that question will determine whether you find Malick's film a profound exploration of existence or crazy-ambitious failure full of beautiful things. Malick's sincerity is winning (and so is his exceptional touch with the child actors), yet many of the movie's touches a! re simultaneously gaseous (amongst the bits of whispered narration is the war between nature and grace, roles assigned to mother and father) and all-too-literal (a dinosaur retreats from nearly killing a fellow creature--the first moments of species kindness, or anthropomorphic poppycock?). The Tree of Life premiered at the Cannes Film Festival and won the Palme d'Or there after receiving boos at its press screening. The debate continues, unabated, from that point. --Robert HortonJJ Abrams and Steven Spielberg join forces in this extraordinary tale of youth, mystery, and adventure. Super 8 tells the story of six friends who witness a train wreck while making a Super 8 movie, only to learn that something unimaginable escaped during the crash. They soon discover that the only thing more mysterious than what it is, is what it wants. Experience the film that critics rave is, “filled with unstoppable imagination and visual effects to spare. It will ! put a spell on you.†â€" Peter Travers, Rolling StoneFew fil! mmakers have ever had a run at the tables like Steven Spielberg, whose output from 1971's Sugarland Express to, say, 1982's E.T. displayed an amazingly unforced melding of huge set pieces and small human gestures. Even at their most chaotic, they somehow felt organic. Super 8, writer-director J.J. Abrams's authorized tribute to classic Spielbergisms, hits all of the marks (Lived-in suburbia backdrop, check. Awestruck gazes upwards, check. Parental discord, check. Lens flares, amazingly huge check), but its adherence to the formula squelches much of its own potential. Appealing as it is to see a summer movie that retro-prioritizes character development over jittery quick-cut explosions, the viewer is always aware at how furiously it's working to seem effortless. Set in 1979, Abrams's script follows a group of movie-crazy kids attempting to make a zombie flick, only to have their plans cut short by a close encounter with a train derailment. As the military pours o! ver the wreckage and neighbors start disappearing, the gang realizes that their footage contains a cameo appearance by an extremely grumpy guest star. For a film whose promotional campaign hinged so strongly on creating an air of mystery, Super 8 is a fairly straightforward melding of E.T. and Jurassic Park, albeit one featuring an oddly schizophrenic monster (he eats people… until he doesn't). Abrams makes his young cast shine (particularly when developing a hint of romance between leads Joel Courtney and Elle Fanning), while also providing a nice character arc for Kyle Chandler, as a widowed deputy who can see his relationship with his son slipping away. Aside from a few primo early jolts, however, the creature-feature aspects feel increasingly shoehorned in alongside the more assured coming-of-age elements. Abrams's film has more than enough bright spots to warrant a viewing, but its insistence on worshipfully following the master's playbook is a b! it of a bummer. Imitation isn't always flattering. --Andrew! Wright< /i>Another Earth is an unusual hybrid of existential rumination on life choices, mind-bending sci-fi supposition, and challenging indie art film that moves at a pace that is often maddeningly oblique. Based on the marketing campaign, which plays up the science-fiction angle and special effects (of which there are very few, consisting mainly of offhand composite shots), the movie seems to be trawling for an audience that may be sorely disappointed by all the roundabout and often repetitive philosophically conceptual ideas that are hard to follow. That's not to say that Another Earth isn't rich in ideas or absorbing in its own right as a meditation on how specific moments play out and affect the cascade of alternatives that follow in their wake. Using broadly impressionistic and experimental strokes, the story follows the disjointed meanderings of 17-year-old Rhoda, who causes a tragic accident while driving drunk after celebrating her acceptance into college. Th! e collision happens when she becomes distracted by the mesmerizing planetary image glowing above her car's moon roof, which has just been identified as an exact duplicate of Earth. After four years of incarceration, she continues to suffer terrible remorse and tries to find a way to make peace with herself and the older man whose life and family she all but destroyed, and who is now crippled by depression. Her initial self-imposed penance is to adopt the role of an anonymous maid who comes to clean his decrepit house every week. As precious few details are added to their individual and mutual evolution and motivation, the constant of the alternate Earth, which has been steadily moving closer (along with its mirror-image Moon), hovers in the day and night sky, gazed upon with wonder and a growing idea that maybe it represents the redemption Rhoda can't find on her own. A corporate contest that will allow an ordinary citizen to make a shuttle trip to Earth 2 (or is it Earth 1! ?) becomes the catalyst for her belief that she can fundamenta! lly alte r both their lives for the better, but the movie never shows its hand in how or if this might work. Another Earth is another of those high-minded indie dramas that relies a little too heavily on rambling structure, shaky handheld digital camera, and arty shots of things like the play of light, clouds, and swirling dust motes to convey the corners of its characters' sometimes fascinating, sometimes inscrutable souls. Much has been made of the film's final shot, which is truly stunning in its unexpectedness and implications. But what those implications are will be cause for unending debate among viewers, many of who may never be able to come up with a satisfying answer. --Ted FryA science-fiction series with an ecological theme, EARTH 2 only ran for one season on NBC, and all 22 episodes of the program are collected here. In the distant future, the surface of the Earth has been largely destroyed, and mankind lives in space stations orbiting the planet. A group of! space colonists, led by Devon Adair (Debrah Farentino) and John Danzinger (Clancy Brown), are sent to a far off planet to prepare it for colonization by the surviving population of Earth. But a mishap sends them careening off-course, crash landing thousands of miles from the proper camp site. EARTH 2 follows the band of colonists as they traverse the planet, encountering dangerous aliens and other humans who view them with distrust and suspicion. By tackling issues like ecology and colonization, EARTH 2 engages important ideas and themes in an entertaining fashion.
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