Buena Vista Home Recreation

96 mins. · R

Letterboxed · 2.35:1

Subtitles

Spanish

Extras

Ostentatious trailer

Starring

Sylvester Stallone, Armand Assante, Jürgen Prochnov, Max Von Sydow

Review by

Judge Dredd
After a number of rather average movies, including stints in the comedy genre, Sylvester Stallone adamant to fall heir to back to his roots and do a full-blown functioning silent picture in 1994. "Judge Dredd" is the outcome, a no-holds-barred, futuristic action undertaking that has now found its speed to DVD through Buena Vista Home Show. The film?s main character is based on a facetious book series about a dark future where anarchy identical nearly reigns. In this world, the crime rates have skyrocketed. In answer, the domination has replaced parts of their judicial system with the "judges". They are the supreme authority: They embody police force, judge, and executioner in a single person. Heavily armored, trained to perfection and equipped with highly efficient, customized weapons, the judges dally the street of the mystical urban sprawl Megacity. One of them has ripen into somebody. He ranks as the highest street judge and has been on the streets longer than any other judge. He is Judge Dredd (Sylvester Stallone). As you might need, Dredd is a utter controversial character. He is idolized by many of the other judges, especially the babyish cadets at the academy, but he is also feared, considered treacherous and a menace by more hidebound parts of civilization. News anchors have made it their business to snoop in his being planned and denounce every withdraw he takes.
One day, a boisterous-ranking gendarme is killed, and the upset is captured on video. The iceman wears the uniform of a street judge and Dredd?s badge. Dredd is immediately imprisoned and bewitched to court, where it also turns out that the bullet that killed the victim was clearly shot from Dredd?s lawgiver gun – a handgun locked by a device that takes and verifies a DNA sampler before it allows handling and firing of the weapon. With this evidence, Dredd is sent to prison for life, but when the transportation shuttle is shot down by renegades in the desert, he escapes the flames and gets his chance to find the person who is framing him.

Director Danny Cannon created an atmospheric, tight movie that is extremely well paced. Introducing us to the paramount characters, the film quickly breezes through the presentation and sets the outstanding premise. From there on, the motion picture becomes a non-stop thrill tour that takes us to exotic places and confronts us with a variety of fantastic events and characters.

The extra effects are machination, although they cannot put up with the marvelous designs of "The Fifth Element", for the treatment of specimen. However they present us with a cluttered, neo-stylized megacity, towering into the skies, where there is no room to bolt or refrain from the power of frenzy.
As you would expect from an action movie like this, the film does not establish much background representing the characters, ascetically giving them enough motivation to set in motion them into done with the scenario. "Judge Dredd" does a very good job with this, and with stars like Sylvester Stallone, Armand Assante, Jürgen Prochnov and Max Von Sydow, the cast is extremely strong to start with.

"Judge Dredd" is a role tailored conducive to Sylvester Stallone and undoubtedly the goodness vehicle for the actor. He is witty and occasionally charming – when the inflexible false front shell is broken and we can enquire wide into his torn, relax soul through his contact-lens-filthy eyes. Armand Assante, a highly underrated actor, in the role of a traitorous judge whose plan it is to ousting the government and aristocratic the judges, presents us with a clean-dock bad bloke who is little short of sympathetic on the outside, yet who reveals himself to be dark, ominous, and ill on the inside. Always passionate and rampaging cast a furious rude, his bad guy nicely complements Jürgen Prochnov?s portrayal of the high ranking bad guy, he teams up with, who is stoic and almost ice indifferent.

Don?t want too much from a film like "Surmise Dredd". It is a film based on a comic character and it?s clearly designed to numb your senses. This is Hollywood big screen reaction behaviour cinema without inhibitions and it delivers the goods – fast, pissed off, and loud. It is a level-headed movie that brings the world of the comic to spirit in a spectacular fashion with first-rate heroes and nasty bad guys? and the part of Judge Dredd is perfect for Sylvester Stallone.

Broken English: Romantic comedy. Starring Parker Posey, Melvil Poupaud,
Drea de Matteo, Justin Theroux and Gena Rowlands. Directed by Zoe Cassavetes.
(PG-13. 97 minutes. At Bay Area theaters.)

Parker Posey’s fearless performance as Nora, an unsettled and borderline
unhinged Manhattan single, is the best thing about “Broken English” and makes
it worth seeing. Appearing in close-up, sparsely made up, Posey allows Nora’s
anguish to reflect on her angular face. She looks like “before” in an ad for an
antidepressant.

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Nora blames her shortcomings for every date that fizzles, such as the
fix-up who runs into his ex and decides on the spot to go back to her. When he
breaks the news to Nora, it’s the kind of blackly funny moment the film could
use more of. By the time she meets someone with potential — a Frenchman
named Julien played with a marvelously jaunty air by Melvil Poupaud — she’s
developed serious intimacy issues.

Unlike the almost too self-aware Carrie Bradshaw, whose laptop became a
repository for her feelings, Nora is clueless about her own predicament. A
curiosity of Zoe Cassavetes’ half-baked script is the unlikely sources Nora
finds to advise her. She wanders into a chic Parisian bar, and an older man,
instead of hitting on her, philosophizes on how she must find happiness within
herself before she’ll land a man.

You can feel Cassavetes straining to say something about whether mammals
need to be paired up, like on Noah’s Ark. Ultimately “Broken English” offers a
contradictory message. A more critical problem, however, is that this
first-time director comes up short dramatizing her ideas. There’s a lot of
talk, but little action.

As the offspring of indie filmmaking icon John Cassavetes and Gena
Rowlands, she (along with her brother) has gone into the family business.
Parental devotion is the only explanation for Rowlands taking the one-note role
of Nora’s mom, whose scenes consist solely of nagging her daughter to marry
already. What a waste of an incandescent talent.

Zoe takes that adage to write about what you know literally, bestowing on
her characters a laughable number of industry connections. Nora has a fling
with an almost-famous actor (Justin Theroux, humorously capturing the egotism
rampant in the profession). Her best friend (Drea de Matteo, late of “The
Sopranos”) is married to a director whom she suspects of sleeping with his
star. Julien comes to New York from Paris to work on the sound in a movie
starring his actress-girlfriend, who promptly jilts him for her leading man.

“Broken English” doesn’t come fully alive until Julien struts into a
party Nora is about to exit, wearing a jaunty straw hat. He charms her with his
French accent and patter about life being too short not to enjoy, a lesson he
says his father taught him. (In another example of how hastily the script seems
thrown together, Nora makes a big deal of her Sarah Lawrence degree. Yet when
Julien tells her his dad lives in Marseille, she looks at him blankly, as if
she’s never heard of it.)

The title refers not to her inability to understand him — Julien’s
English is nearly perfect — but to a larger problem the sexes have
communicating. “Broken English” doesn’t break any code or offer original
insights on the subject. But there’s a spark whenever Posey and Poupaud are
together, and Paris and Manhattan glisten in the background.

– Advisory: Mild sexual content.

E-mail Ruthe Stein at rstein@sfchronicle.com.

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Gameplay will be similar to the first Super Mario Galaxy, with a focus on platforming based on and around 3D planets with varying sizes and landscapes. Power-ups such as the Bee Suit will be returning, along with the Launch Star for interplanetary navigation and the Airships operated by the villain Bowser and his son, Bowser Jr.

The main character Mario will be able to ride the bipedal dinosaur Yoshi, who can use his tongue to swing across gaps, as well as eat different fruits that give him different powers, such as speed boosts or the ability to inflate like a balloon.

All cynicism vanishes once “Touching the Void,” a docudrama by Oscar-
winning director Kevin Macdonald (”One Day in September”), charts climber Joe
Simpson’s excruciating descent. Real acting replaces re-enacting, and amazing
cinematography pits the limits of human will against the unruliness of nature.

Interviews with Simpson and climbing partner Simon Yates narrate the
action, filmed at the site of the 1985 disaster and in the Alps. The thrills
start on the ascent, as actors Brendan Mackey (as Simpson) and Nicholas Aaron
(as Yates) use the mortal tools of pickaxes and spiked boots to defy gravity
on a sheer, icy face. Overhead shots of tiny figures swallowed by a snowy
landscape underscore the enormity of their struggles.

The calamities occur on descent. Moving ahead of his partner on a rope,
Simpson crushes his leg on a rock. Battling severe wind chill and unstable
snow and ice, Yates valiantly tries to bring his partner down the mountain
using a shorter length of rope. But a second accident prompts him to leave
Simpson, whom he presumes dead.

The moral and ethical implications of Yates’ decision are overwhelmed by
the nasty business of getting Simpson, still alive after falling into a
crevasse, off the mountain. Macdonald’s triumph here is in maintaining
suspense even though we know Simpson will survive.

Spiritual torture melds with physical pain in the crevasse, which the
real Simpson describes as having a “dread feel — they’re not for the living.
” Cinematographer Mike Eley seals the sense of doom with slow, ascending shots
of walls encased in what looks like centuries’ worth of ice. Profound
ingenuity gets Simpson out, but his trials have just started.

Actor Mackey, in a physically demanding role, embodies the climber’s
struggle with grimaces and flashes of fear. We see the nearly ruined man break
down only once, damning the fates. The real Simpson rues the energy he wasted
on his lone fit.

In detailing every misstep — Simpson hops or crawls most of the way –

Macdonald overdoes it at times. We already understand the guy is in trouble
before the 30th time he stands on his broken leg. The most heartbreaking
aspect of the odyssey is the real Simpson’s recollection that he wasn’t
fighting to live but trying to get to base camp so he wouldn’t die alone.

The movie offers scant detail about Simpson and Yates’ relationship
before the disaster, so we don’t know if they were great friends or just
climbing buddies. Simpson, who wrote the best-seller on which the film is
based, has the haunted look of a war veteran. Yates is more elusive, half-
grinning with unease as he tells his part of the saga. Simpson says he has
forgiven his partner for leaving him, but one gets the distinct feeling Yates
has not forgiven himself.

– Advisory: This film contains raw language, disturbing images. — Carla Meyer

Kids’ caper comedy. Starring Kirsten Kristen Stewart, Max Thieriot,
Jennifer Beals and Sam Robards. Directed by Bart Freundlich. Written by
Michael Brandt and Derek Haas. (PG. 91 minutes. At Bay Area theaters.) .

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“Catch That Kid” is a great example of how far films for kids have come
in the last 10 years. Not the plot, certainly, which has holes you could drive
one of the movie’s go-carts through. Or the action, which is basically “Spy
Kids” on a rope.

No, the difference is the hero. She’s a girl. And not one of those
adorable, cute-as-Hilary-Duff girls, either. As Maddy, Kristen Stewart is a
kick-butt, take-no-stuff winner who makes it all happen.

Naturally she has a couple of sidekicks, Gus (Max Thieriot) and Austin
(Corbin Bleu). But as Maddy scales sheer walls and hangs by her fingertips
100 feet off the ground, all the boys can do is stand meekly down below and
call out, “Be careful Maddy!”

When Gus, whose only job is to push buttons that are clearly marked with
numbers 2 inches high, fouls up even that simple task, it is clear that she’s
the only character who can save the day. Not that the guys believe it.

“Don’t do it Maddy!” Gus calls from the safety of the floor. “It’s too
dangerous!”

Right. And thanks for your support.

This is actually a caper film with a history. It began as a straight
remake of a Danish film called “Klatretosen,” which was a sensation in Europe.
Also called “Kletter Ida,” or “Climbing Ida,” it was the story of three
kids who attempt to pull off a bank heist to get money for an experimental
operation for the heroine’s father.

Ida, or Maddy in this case, is an expert climber, just like her dad, but
she’s been ordered not to break out her ropes and climbing shoes because it is
too risky. But guess what? Her climbing skills turn out to be invaluable in
the bank job.

By all accounts, there were two reasons the Danish version was so
successful. First, the actress playing the lead and second, although it was
lighthearted children’s fare, it still had an edge. Well, one out of two isn’t
bad.

Stewart, who was Jodie Foster’s daughter in “Panic Room,” is perfect as
Maddy. She has that Avril Lavigne “girl power” look down. She is buffed enough
to look like she really could climb sheer walls and she even walks like a jock.
There are others on the screen, but this is Stewart’s movie.

As for everything else …

Granted this is a kids’ movie and disbelief must be suspended, but
director Bart Freundlich, whose “The Myth of Fingerprints” was a critical hit
in 1997, never seems to find the tone he wants. For tweens and parents looking
for an entertaining and inoffensive weekend break, this is a perfectly
acceptable choice. Just sit back and don’t overdo the logic thing.

For instance, the kids must break into a money-packed bank vault that is
suspended 100 feet in the air. (Geez, suppose you have to make a withdrawal?)
The security is impenetrable unless you have the special, incredibly secret
access code … which one of the bank employees helpfully types out right in
front of Maddy.

Maddy’s mother (Jennifer Beals) is supposed to be a workaholic who
doesn’t have time to show Maddy how much she cares. But that’s never really
established. It looks more like Maddy is the one with lots of things to do
while Mom is getting chewed out at her job.

And finally, screenwriters Michael Brandt and Derek Haas (”2 Fast 2
Furious”) have concocted two over-the-top security guards who flop and flail
around in search of a laugh. Forget the edge, they’re going for the banana
cream pie in the face.

There’s nothing terrible about “Catch,” except that it promises a lot
more than it delivers. Much, for example, is made of Gus’ astonishingly smelly
socks. Surely, you think, that will be a part of a last-second plot twist,
perhaps to disable the menacing attack dogs. Nope. It turns out Gus just has
smelly feet. And what started out with the feel of a tight little kids’
thriller turns into a Nickelodeon afternoon movie.

– Advisory: Mild offensive language, mostly tame PG action. — C.W. Nevius

Erotic thriller. Starring Sabrina Seyvecou, Coralie Revel, Roger Mirmont
and Fabrice Deville. Directed by Jean-Claude Brisseau. (Not rated. 115 minutes.
In French with English subtitles. At Bay Area theaters.).

Like most French films, “Secret Things” begins with a scene of a
beautiful woman masturbating. But “Secret Things” goes beyond most French
films. It soon tops this with a scene of another beautiful woman masturbating,
and quickly trumps that with a scene, set in the Paris subway, in which the
two heroines help each other masturbate. Ten whole minutes go by before the
next masturbation scene, but it’s a good one. Later, one of the ladies seduces
a man by masturbating at her desk at work.

Thus, once again, a movie takes a subject of seemingly endless
fascination and wears it out through repetition.

An erotic thriller, “Secret Things” aspires to the intrigue and moral
complexity of “Les Liaisons Dangereuses,” but it plays rather like a
humorless version of Barbara Stanwyck’s tongue-in-cheek classic, “Baby Face”
(1933). Two pretty but powerless young women decide to use their wiles to
climb their way to wealth and position. As the exotic Nathalie (Coralie Revel)
tells Sandrine (Sabrina Seyvecou), an innocent who catches on fast, the key to
driving a man crazy is in being emotionally disengaged but sexually
adventurous. “Every time you hesitate, dare yourself to go a little further,”
she tells her.

Both women get jobs at a Parisian bank, and each proceeds to try to throw
a lasso over some poor schnook’s head. We follow Sandrine, as she goes after a
powerful company manager (Roger Mirmont), who is 50 and married but just can’t
resist. These scenes are psychologically interesting and rather touching, in
that both participants seem lost. He’s in over his head, blindly in love,
while she sits, observing herself at a remove, wondering why she used her
allure in this way and what she expects to get from it.

Writer-director Jean-Claude Brisseau numbs the audience with sex and
nudity and then expects us to take it seriously when he has overwrought
choruses singing during selected, supposedly pivotal, sexual encounters. By
the time Brisseau introduces the big boss — the young heir (Fabrice
Deville), who is presented as something very near the devil himself —
“Secret Things” has skidded into absurdity, but it never quite gets boring.
Movies like this rarely are.

– Advisory: This film contains full frontal nudity, multiple sexual
encounters and physical violence.– Mick LaSalle

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“You build me a car, and I’ll prevail in Daytona next year.”

Here’s another bunch pleaser done up in high-definition picture and undamaged. Star Tom Boat and top banana Tony Scott made “Days of Thunder” in 1990 as a follow-up to their warmly in the money “Top Gun” of a few years earlier. Replace jet fighters with stock-car racers and you get the idea.

Somewhere, I remember reading that ordinary-car racing is one of the biggest spectator sports in America, dialect mayhap the biggest, which is surprising considering the popularity of football, baseball, and basketball. But there you are. With Journey and Scott at the where and a well-made fan base behind the stars and the pleasure, the movie had a a heap of built-in support.

“Days of Thunder” is realistically interchangeable with “Top Gun.” You’ll reward from the first film that it featured a cocky, uninitiated hotshot; an domineering rival; a grizzled old hand; a love interest with a appealing, well-educated woman; and a whole load of conflicts involving all of them in one way or another. So, instanter you understand the plot for “Days of Thunder.”

Personally, I’ve never seen the appeal of watching a bunch of cars driving around in circles. I can understand, though, how it would be easier than a track course for the spectators to see what’s growing on. With a Modus operandi One GP incident and most sports-car races, for example, you can only observe a wedge of the trail. But what do I know. I don’t like to wary of baseball or basketball, either, and prefer football and boxing. To each his own. Go for “Top Gun,” “Days of Thunder” attempts to inject a heap of Thespian between the racing scenes, and it tries to make the disparaging lives of the characters at least as watchable as those in “Top Gun.” Too bad the racing performance in “Days of Thunder” doesn’t compete with the excitement of the dogfights in “Top Gun.”

Director Tony Scott is no stranger to exploit movies. Besides “Top Gun,” he’s done things adore “Crimson Tide,” “Enemy of the Asseverate,” and “Man on Fire.” This time, however, he collaborated with screenwriter Robert Towne (”Chinatown,” “Personal Master,” “Mission Impossible”) and Yacht himself on the script. Apparently, it was too amenable just to modify marginally the “Top Gun” structure, which is what the resultant movie turns out like a light love in any casket.

In “Days of Thunder” the filmmakers continue to departure no cliché unvisited. Nothing happens in the tidings that we don’t fully surmise. Travel plays a cocky, persistent inexperienced rookie stock-car driver named Cole Trickle, who, naturally, has to make good himself to everyone, including himself. Coast is good at doing cocky and predetermined whether it’s “Top Gun” or “Mission Impossible” or “War of the Worlds.” If you like what he does, you’ll like him here. Robert Duvall plays an crumbling racing-crate engineer and corps chief, Harry Hogge, whom a limited car relations, Tim Daland (Randy Quaid), lures escape of retirement to paramount up a racing combine he’s putting together. John C. Reilly plays their chief mechanic, Buck Bretherton. The antique-on villain in the shred is a rival driver, Uproarious Burns (Michael Rooker). Did the screenwriters think these names sounded like Southern good ol’ boys: Cole, Hogge, Buck, Uproarious? I dunno. The names just sound corny to me and third-rate excuses after creating real characters.

Cole seems to have the mentality of a six-year-old, and Yahoo is no preferably, so they go to it on the follow, crashing their cars into one another as instances as workable. According to the film, this is ordinary practice in pro stock-car racing. Do drivers in real freshness nudge one another occasionally, either accidentally or on firmness, and are collisions a part of the mockery tease? You bet. Do the drivers constantly function on the track as granting they’re in a demolition derby? Hardly. They’re professionals, after all. And in the movie, not a united of the 800,000 people watching them as they throw their cars at each another notices anything untoward. Far, at least no one notices except the racing commissioner, Grown-up John, played by Fred Dalton Thompson. Thompson, you’ll remember, is the guy who looked so much like a senator, he became one. Rarely he’s back to playing ample shots like his character in “Law and Order.” Anyway, after half a racing mature of Cole and Rowdy roughhousing on the track, Big John (I renounce, that’s what he’s called in the film) finally orders them to stop. Usefulness eyes, big guy.