A series of overlapping stories about four suburban families dealing with different maladies. Esther Gold's life is consumed by caring for her comatose son; Jim Train is sent into a ... See full summary »
Mary Kay Place
A massage therapist looking to overcome her addictions and reconnect with her son, whose father is an anthropologist in South America studying the Yanomani people, moves in with a wealthy ex-client in New Jersey.
Following the death of his wife Audrey, John Munn moves with his two sons, mid-teen Chris Munn and adolescent Tim Munn, to a pig farm in rural Drees County, Georgia, where they lead a ... See full summary »
After a blurred trauma over the summer, Melinda enters high school a selective mute. Struggling with school, friends, and family, she tells the dark tale of her experiences, and why she has chosen not to speak.
Robert John Burke
A family relocates from the city to a dilapidated house in the country that was once a grand estate. As they begin to renovate the place they discover their new home harbors secrets, conceals a horrific past, and may not be free of the former inhabitants completely.
L.A. soft-porn writer Carter Webb is frustrated enough after his actress girlfriend dumps him to need a serious break. He decides to spend it with his grandmother, who can't really take ... See full summary »
This is the story of a twelve-year-old named Maddy. Maddy and her adventurous father have always shared a love for mountain climbing. Their hobby, however, has a disastrous effect when a devastating accident on Mount Everest injures his spine, paralyzing him forever--unless he gets a very expensive operation. Determined to procure the money to pay for his surgery, Maddy decides to recruit two of her friends, a computer genius and a mechanical whiz kid, to help her pull off a risky heist. They plan to break into the local super-high-tech bank, which holds a vault suspended 100 feet off the floor, and get to its safe. To complicate matters even further, Maddy's mother works as the security chief at that very bank. Regardless of what obstacles she faces, Maddy is determined to get to the funds her father needs, by using the amazing climbing skills he taught her. Written by
Anthony Pereyra <firstname.lastname@example.org>
A U.S. remake of the Danish film Klatretosen (2002), Catch that Kid is a teen heist film, in a nutshell. When Maddy's (Kristen Stewart) dad needs an expensive operation, she plans a heist to get the money to pay for it, enlisting the help of her two equally inventive friends, Austin (Corbin Bleu) and Gus (Max Thieriot).
Catch that Kid is a lot of fun, but viewers who are only looking for "realistic" fare may be disappointed. As a teen heist film, Catch that Kid is heavy on the fantasy aspects, which are frequently more cartoonish than realistic. Whether you'll like it will largely depend on whether you don't mind, or even prefer (as I do), fantasy instead of reality in films. And unlike traditional heist films, Catch that Kid has an overarching "warm and fuzzy" message, with a predictable climax and denouement.
Even though it is heavy on fantasy elements, the three stars, Stewart, Bleu and Thieriot, are very believable, in context, in their roles. The film is interesting that in spite of being a heist film, it is also constructed like a more traditional fantasy/adventure story. In this interpretation, the bank is as a castle, presided over by an evil ruler. Our heroes must enter the castle stealthily, foiling the court jesters/castle guards, evading the magical beasts to scale the inner sanctum, retrieve the sacred token, escape on horseback and save the true King. That the plot can work in both the modern heist setting and the traditional fantasy/adventure setting gives in more depth and more unconscious resonance with audiences amenable to less realistic tales.
Comparisons can easily be made to other recent films such as the Spy Kids series, the Cody Banks series, or even animated fare such as Kim Possible, but each has its particular niche, and Catch that Kid was just as entertaining to me (a middle-aged male) as any heist film for grown-ups.
Finally, in a different tone, let me repeat the rant I gave in my review of The Grudge (2004): It is ridiculous that U.S. distributors and studios feel that we need remakes of foreign films to make them appropriate for consumption. The original versions of these films should just be playing in U.S. theaters in wide release. There is no need to present an almost identical film but just substituting white American actors for non-white or foreign actors. Yes, Catch that Kid is a fine film, but ultimately, I'd rather see something original using this talent, and be treated to the latest foreign films--not just European, but Asian, African, etc.--at my multiplex. In the hope that someone with some pull at the studios reads this, it is also more cost-effective to do this, as (1) you can completely avoid production costs, and simply make domestic distribution deals from which you receive profit, and (2) you can make money off of fans like myself who otherwise pick up the foreign film DVDs in foreign manufactured or even bootleg versions.
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