Documentarian Seth Gordon (THE KING OF KONG: A FISTFUL OF QUARTERS) makes his feature film directorial debut with FOUR CHRISTMASES. Kate (Reese Witherspoon) and Brad (Vince Vaughn) are a happily unmarried couple who avoid spending Christmas with their families at all costs and instead travel to exotic locales. But when they find themselves fogged in at the San Francisco airport and their flight to Fiji cancelled, they have no choice but to spend the holiday with their divorced parents and the rest of their dysfunctional relatives. From his wrestling brothers and cradle-robbing mother to her oversexed grandmother and perfect sister, the couple is forced to face their worst nightmare head-on. Kate and Brad’s greatest fears are realized as their families share their most personal secrets.<br><br>This film addresses broader themes of how people really know each other and the importance of connecting with family, no matter how crazy they might be. Vaughn and Witherspoon have nice chemistry as a couple that thought they had everything they wanted, improvising and playing off of each other well. Robert Duvall and Sissy Spacek appear as Brad’s parents, while Jon Voight and Mary Steenburgen play Kate’s parents. Jon Favreau and Tim McGraw are a hoot as Brad’s tormenting brothers, and Kristen Chenoweth fits the bill as Kate’s sister. Parents should be aware that the film includes adult language and themes, and some comments about Santa that may upset young children.
For super-dog Bolt, every day is filled with adventure, danger and intrigue - at least until the cameras stop rolling. When the canine star of a hit TV show is accidentally shipped from his Hollywood soundstage to New York City, he begins his biggest adventure yet - a cross-country journey through the real world. Armed only with the delusions that all his amazing feats and powers are real, and with the help of two unlikely traveling companions - a jaded, abandoned housecat named Mittens and TV-obsessed hamster in a plastic ball named Rhino - Bolt discovers he doesn’t need superpowers to be a hero.
EASTERN PROMISES’ Viggo Mortensen stars in this World-War-II-era drama as a professor who is reluctant to join the Nazi party. As anti-Semitic feelings grow, he is forced to choose between his career and a Jewish friend (Jason Isaacs, THE PATRIOT). Jodie Whittaker, who held her own against Peter O’Toole in VENUS, plays Mortensen’s character’s wife.
John Leguizamo and Freddy Rodriguez star in this moving comedy about a holiday gathering that reunites a family in Chicago. NOTHING LIKE THE HOLIDAYS is directed by Alfredo de Villa (WASHINGTON HEIGHTS), and it also features Debra Messing, Alfred Molina, Jay Hernandez, Melonie Diaz, and Luis Guzman.
MOULIN ROUGE’s Baz Luhrman and Nicole Kidman reteam for this epic that pays homage to their homeland. In AUSTRALIA, Lady Sarah Ashley (Kidman) is a prim and proper Englishwoman who journeys to Australia in the years before World War II reached the country’s shores. She is determined to have her estranged husband sell his cattle ranch to a monopoly-craving businessman named King Carney (Bryan Brown), but when she arrives, Lord Ashley is dead, and her plan to sell the ranch changes when she sees an employee named Fletcher (David Wenham) cheating her husband’s business and mistreating a young boy named Nullah (Brandon Walters) because he is of mixed race. Urged on by both pride and a sense of justice, Lady Ashley wants to drive her herd of cattle to Darwin so she can sell them to the troops, but she’ll require the help of an independent cowboy (fellow Aussie Hugh Jackman) to get them there. <br><br>AUSTRALIA changes genres almost as much as Kidman’s character changes from fantastic costume to fantastic costume (courtesy of Luhrman’s wife and collaborator, Catherine Martin). The film begins as a fish-out-of-water comedy, then changes into a Western, then morphs into a romance, and it finishes as a World War II drama. But in this genre-bending epic, there’s something for everyone, especially for fans of Jackman. The actor has rarely looked better, and there’s plenty of opportunity for him to show that he can be an action star as well as a romantic lead in the mold of the Golden Age stars. The film itself harks back to classic Hollywood, at times resembling essentials such as GONE WITH THE WIND and THE AFRICAN QUEEN. And fans of THE WIZARD OF OZ will enjoy seeing how the beloved film works its way into AUSTRALIA’s plot and score.
Animation may be a field dominated by Hollywood companies such as Disney and Dreamworks, but this little-indie-that-could proves that small companies can still draw top stars and animators. In this computer-animated fantasy, SCOOBY DOO’s Freddie Prinze Jr. provides the voice for Delgo, a teenage member of the lizard-like Lockni species. When he falls for the princess (Jennifer Love Hewitt) of his enemy race, the Nohrins, he finds trouble and intrigue he never could have imagined.
Oscar-winner Steven Soderbergh delivers this ambitious and sprawling biopic of one of the 20th century’s most influential political figures. In the first 137-minute segment, THE ARGENTINE, we meet Ernesto “Che” Guevara (Benicio Del Toro), a young Argentinean doctor who teams up with Fidel Castro on a dangerous mission: to overthrow the corrupt Cuban dictatorship run by Fulgencio Batista. Che’s commitment to the cause impresses everyone around him, and soon he is one of the leaders of this burgeoning guerrilla movement. Against all odds, Castro, Che, and their undermanned forces charge forward, conquering Batista’s forces on their way to an expected showdown with the man himself.<br><br>Soderbergh films this first segment–a battle that everyone knows Che is going to win–with beautiful widescreen photography, like a Hollywood epic from yesteryear. Composer Alberto Iglesias accompanies this imagery with a sweeping orchestral score. Soderbergh intercuts the primary story of the revolution with Che’s 1964 appearance at the United Nations in New York City, recreating that event in documentary-like black-and-white. However, as impressive as these technical attributes are, it is Del Toro who steals the show. He inhabits Che in a way that feels like he isn’t just acting. THE ARGENTINE is an inspiring tale of a man whose fierce determination and unflinching spirit turned him into a hero to disadvantaged people throughout the world.
Combining Western-style car chases and Hong Kong-inspired fight sequences choreographed by martial arts legend Cory Yuen, the Luc Besson-created TRANSPORTER films have found international success as a sort of working-class James Bond series. Jason Statham, who has become the go-to guy for big-budget B-movie thrills, returns once again as Frank Martin, the driver-for-hire for whom no job is too risky. Brimming with the usual jaw-dropping stunts, this is another crowd-pleasing entry in the saga, delivered at a brisk and flashy clip by director Olivier Megaton. Following the coercion of Ukrainian environmental official Leonid Vasilev (Jeroen Krabbe) into signing papers permitting the shipping of toxic materials into a harbor by criminal mastermind Johnson (Robert Knepper), Frank Martin is forced into accepting the job of driving Vasilev’s kidnapped daughter, Valentina (Natalya Rudakova)–acting as human collateral–from Marseilles to the Black Sea coastal city of Odessa. On the chance the Martin should attempt to flee, Johnson has rigged him with a bracelet that will detonate if he strays more than 75 feet from his car. When Valentina is intercepted by a rival group, Martin will have to push his Audi M8 to the limit to complete his mission and ensure his own survival. <br><br>The TRANSPORTER films require copious amounts of suspension of disbelief, but then again, one doesn’t hope they will strictly adhere to the laws of physics. The third volume provides ample thrills, not the least of which is the sight of a car driving off a bridge onto a moving train. Plenty of screen time is also given to Statham’s superhumanly chiseled torso, while freckled Rudakova’s unconventional beauty balances out the sex appeal. In the end, Statham’s undeniable likeability propels the film, and his chemistry in a handful of scenes with François Berleand, returning as Inspector Tarconi, provides some nice comic moments.
CADILLAC RECORDS is a writer/director Darnell Martin’s riveting ensemble film depicting the rise, in the early-50s to late-60s, of key musical figures at the crossroads between blues, rhythm & blues, and rock & roll. Based on the true story of the original Chicago-based purveyors of electric blues, Chess Records, it centers on two men: Leonard Chess (Adrien Brody), a Polish-Jewish nightclub owner; and Muddy Waters (Jeffrey Wright), a transplanted Mississippi sharecropper with sights set on musical stardom. After hearing Waters’s electrified Delta blues during a tussle at his nightclub, Chess decides to pool his resources into releasing what were then called “race records.” Soon a coterie of label talent, from Little Walter and Howlin’ Wolf, to Chuck Berry and Etta James, help to propel the fledgling label to the top of the charts–with each hit-maker rewarded by Chess with a shiny new Cadillac automobile. While sometimes playing loose with some minor historical points, the film truly hits the mark with its attention to visual detail, from costumes and cars, down to vintage recording equipment, all of it is a feast for period buffs. But what truly makes CADILLAC RECORDS captivating are the exceptional musical performances of Beyonce Knowles (Etta James) and Mos Def (Chuck Berry), two of the finest musicians-turned-actors of their time. Ultimately, CADILLAC RECORDS’ most potent message may be the boundless ability that much of this music had in transcending the unsettling realities facing blacks of the time. From Payola (the practice of bribing disc jockeys to play “race records”) and segregation, to white performers pilfering songs written by blacks, all of it is handled with admirable aplomb in this enjoyable, often edifying, film.
The death of a man marks the beginning of a friendship in this drama. When Mark dies, his best friend, Jeff (Adam Neal Smith), writes to break the news to Mark’s Italian friend, Andrea (co-screenwriter Alessandro Calza). Soon their connection causes the men to become friends, first over email and then in person. Though they come from vastly different backgrounds, their common bond brings them closer and closer. Director/co-writer Yen Tan (HAPPY BIRTHDAY) loosely based the film on his friendship with Calza.