In a future mind-controlling game, death row convicts are forced to battle in a 'doom'-type environment. Convict Kable, controlled by Simon, a skilled teenage gamer, must survive 30 sessions in order to be set free. Or won't he?
Michael C. Hall
Set in a futuristic world where humans live in isolation and interact through surrogate robots, a cop is forced to leave his home for the first time in years in order to investigate the murders of others' surrogates.
When a cure is found to treat mutations, lines are drawn amongst the X-Men, led by Professor Charles Xavier, and the Brotherhood, a band of powerful mutants organized under Xavier's former ally, Magneto.
Dr. Bruce Banner, thanks to a gamma ray experiment gone wrong, transforms into a giant green-skinned hulk whenever his pulse rate gets too high. Meanwhile, a soldier uses the same technology to become an evil version of the original.
Ex-con Jensen Ames is forced by the warden of a notorious prison to compete in our post-industrial world's most popular sport: a car race in which inmates must brutalize and kill one another on the road to victory.
A group of young American ex-pats with telekinetic and clairvoyant abilities are hiding from a clandestine U.S. government agency. They must utilize their different talents and band together for a final job enabling them to escape the agency forever. Written by
Director Paul McGuigan tried to limit the use of digital effects as much as possible, recalling the great directors who didn't have such means available to them yet made up for them with their imagination. In fact the only scenes in which green screens were used were the car chases, as Hong Kong traffic is very heavy. See more »
Nick's flashback of Henry talking in the restaurant does not match up to the original scene. In original scene the floating gun is pressed to Henrys cheek however in the flashback the gun is pressed to his temple. Secondly Henry refers to the drug as "the stuff" in the flashback but he only referred to the drug as "it" during the original scene. See more »
Dad, what's happening?
I need you to listen to me, like we're the last two people on the planet, okay Nick? Someday, a girl is going to give you a flower. You got that? A flower. And you have to help her, Nick. You help her, and you help us all. Okay? I know it doesn't make any sense right now, but I believe the woman who told me that. Do you think you can believe me?
I love you. Know how I've said that you were special Nick? Turns out that I was right.
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Don't Think Too Hard If You Want to Enjoy This Movie
This little bit of cinematic junk food is moderately entertaining if you're not looking to exercise any brain cells. It's about a bunch of people -- some good, some bad -- with special powers in pursuit of a suitcase that contains something that everybody wants. I could go into what the suitcase actually contains, and why it's important, and why everyone wants it, but I don't have the energy, and it doesn't matter much anyway, because the film is more interested in its style than it is in its plot, which isn't in this case a criticism.
The film reminded me of a jacked up version of one of those 1940s crime thrillers, where everyone speaks in a hard-boiled patter and what happens isn't nearly as important as how it all looks happening. So what if this film's plot seems needlessly complicated, and so what if there are way too many narrative threads that don't ever get completely developed, and so what if the whole thing is edited to within an inch of its life? It's still pretty fun if you're in the mood for it.
Chris Evans and Dakota Fanning are the nominal stars, and Djimon Hounsou makes an appearance, proving yet again that what he really needs more than anything is a better dialect coach.
The crazy color palettes and art direction in this film reminded me as I was watching it of "Lucky Number Slevin," another bit of entertaining B pulp. How funny then that I look at this film's director's (Paul McGuigan) resume only to find that it includes....you guessed it....."Lucky Number Slevin." If nothing else, his films certainly have a visual style in common.
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