An unexpectedly poignant drama that gets the peiod details, particularly the stuff about race relations, just right. Michelle Pfeiffer and Dennis Haysbert are great together.
A silly romantic comedy with a ridiculous premise, but this one is elevated by Hugh Jackman, looking dashing as ever and portraying a lovely old-fashioned gentleman whom every woman secretly wants to fall in love with.
The Cooler is one of those old-fashioned Vegas movies that brings out the darkest the city has to offer, literally. The lighting and production design take cues from the story, featuring three characters each fighting their own set of demons. Alec Baldwin plays himself, as usual, and is unappealing as ever, storming around menacingly as an outdated casino owner. William H. Macy and Maria Bello more than make up for it however, as the casino's star "cooler," who brings bad luck to players on a hot streak, and as the cocktail waitress he falls in love with, who has a few secrets of her own.
Fun stoner comedy that has more than it's share of moments that are funny even when sober. Some stupid gross-out jokes to be expected, but it also portrays a touching friendship and even hits on a few more serious notes, like themes of racism (but makes light of it all in the end). Best moments: the mix tape and Doogie Howser.
A by-the-book spy thriller with a mix of decent/lame acting, intriguing premise that doesn't entirely make sense but is fun to watch, and guilty pleasure fun. It may not be perfect, but for a brainless action night, it's above average. Plus, the cast is really pretty.
A lonely computer geek offers a stripper ten thousand dollars to go to Vegas with him for a weekend. What should have been a simple arrangement turns into an interesting, if a little underwritten and not entirely plausible, character study. Molly Parker as the stripper is emotionally unavailable and manipulative. Peter Sarsgaard is a dot com millionaire nerd who means well, but he comes off very creepy, completely clueless on how to interact with other people, especially women. Shot on digital camera with intentionally cheap-looking zooms, the whole movie has a voyeuristic nature to it. With the addition of the natural performances, it is pretty unsettling to watch.
In some ways, it's slow-burning and incredibly intense, but in others it's just slow. A very interesting concept here, taking the story of a murdered girl, and instead of tracking the killer and the victim's family, we see how the men who find her body and their families are affected. The presumed killer is sort of included, but he's more of a menacing unknown figure thrown into a few scenes to add extra tension, we never get to know more about him or the actual crime. The victim's community plays a background role as well. Several subplots are introduced, and many of the characters have complicated backstories, but none of this is ever fully explored. It seems the writer had plenty of great ideas, but didn't know how to tie them together or come up with a resolution. Many scenes feel incomplete as they fade to black after very little has happened. Early on I thought this was simply strange editing and that we'd come back to the ideas later, but as the fade outs happened more and more, I realized this was a deliberate artistic choice and the scenes in the filmmakers' minds were complete. Perhaps some focus would have helped improve the overall story, but this isn't a miss at all. The acting is phenomenal all around. I'm always amazed at my how much I hate Laura Linney in character. I know for a fact that she's a lovely person in real life.