After a tragic car accident that killed his wife, a man discovers he can communicate with the dead to con people but when a demonic spirit appears, he may be the only one who can stop it from killing the living and the dead.
Michael J. Fox,
When an unseen enemy threatens mankind by taking over their bodies and erasing their memories, Melanie will risk everything to protect the people she cares most about, proving that love can conquer all in a dangerous new world.
In 1933 New York, an overly ambitious movie producer coerces his cast and hired ship crew to travel to mysterious Skull Island, where they encounter Kong, a giant ape who is immediately smitten with leading lady Ann Darrow.
Heidi, the star of the "Meet The Feebles Variety Hour" discovers her lover Bletch, The Walrus, is cheating on her, and with all the world waiting for the show the assorted co-stars must ... See full summary »
Fledgling writer Briony Tallis, as a 13-year-old, irrevocably changes the course of several lives when she accuses her older sister's lover of a crime he did not commit. Based on the British romance novel by Ian McEwan.
A 14-year-old girl in suburban 1970's Pennsylvania is murdered by her neighbor. She tells the story from the place between Heaven and Earth, showing the lives of the people around her and how they have changed all while attempting to get someone to find her lost body. Written by
Peter Jackson has said that he originally wanted to cast an American actress for the leading part, but was highly discouraged when the audition process began and he couldn't find a single actress who could act like a genuine child. Instead he found himself auditioning kid-actors, who are not at all natural. See more »
The first time Mr. Harvey makes the sketch of the underground room, the dimensions are 6'x6". This is corrected when we see the sketch later on. See more »
I remember being really small; too small to see over the edge of a table. There was a snow globe, and I remember the penguin who lived inside the globe. He was all alone in there, and I worried for him.
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I'd like to preface my review with a comment about the negativity circulating around here about this movie. I don't think it's any coincidence that some of these self-appointed "film-making experts" who have nothing remotely positive to say about Jackson's effort cannot formulate complete sentences. It's not surprising at all that someone obsessed with the wetness of a prop in one scene and its dryness in the next lacks the faculty and capacity to appreciate the many merits of this film. It's ridiculous to knit-pick on 'unrealistic' depictions of this aspect of day to day life or that aspect. If you want a realistic depiction of day to day life, observe the world around you, not a movie screen.
The Lovely Bones is being unfairly hammered as maudlin drivel. Some of the concepts and visuals are on the representational side, but if you take this film as a strange amalgam of a murder/suspense thriller and a fantasy in the vein of a children's book, it all works perfectly. The emotional outpouring is portrayed very well by all the players involved. None of it seemed forced. I became emotionally invested early on and the overall impact of this work struck a chord in me that resonated deeply.
More than anything else, this film is unique. Jackson takes many chances when one considers all the traditionally accepted conventions of film making, but unless you are one of those self-absorbed, self-important film student types who endlessly struggle with the "rules of making good films," you'll get something out of this.
The use of CGI was adventurous to be sure, but if one views this piece as an interpretation of life, love, and death through a fantastical lens, then the effects remain harmonious to the telling of the story. More, the CGI in this case describes 'world's unseen,' metaphysical possibilities existing simultaneously without the bounds of physical space and time. A welcome departure from space ships and crumbling cities. Some of the nastiest complaints about the CGI are coming from people who probably have no problem with giant robots that transform into cars and trucks.
Acceptance of a fictional story, the suspension of disbelief, these events occur in the relationship between a movie and its viewer completely apart from all the rules of pacing, subtext, and all the rigid pigeonholes that don't really apply to the creative process anyway. I did not find the Lovely Bones to be maudlin, and I am a pretty jaded movie-viewer.
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