Shooter

Starring: Mark Wahlberg, Michael Pena, Danny Glover, Kate Mara, more cast
Directed By: Antoine Fuqua
Released By: Paramount
Theatrical Release Date: 03/23/2007
Run Time: 124 min.

Synopsis:

A top Army sniper who previously abandoned the military after a routine mission gave way to tragedy is double-crossed by the government after reluctantly being pressured back into service in Training Day director Antoine Fuqua's adaptation of Stephen Hunter's novel Point of Impact. There was a time when Bob Lee Swagger (Mark Wahlberg) was the best trigger-man in the military, but after growing disillusioned with the system, he disappeared without a trace. After being located at his remote mountain retreat by high-profile government officials following an extensive search, Swagger is coerced back into service in order to stop a determined assassin from taking out the President of the United States. In the process of carrying out his mission, however, Swagger suddenly realizes that he has been betrayed when he becomes the subject of a nationwide manhunt. Now wounded and desperate to reveal the culprits behind the conspiracy before it's too late, Swagger sets into motion a revenge plan that will send shockwaves rippling to some of the most powerful and corrupt leaders in the free world. Danny Glover, Rhona Mitra, and Ned Beatty co-star in this conspiracy-driven action thriller that asks what it truly means to serve one's country.

Harry Potter and the Order of the Phoenix

Release Date: 07/13/2007
Starring: Daniel Radcliffe, Emma Watson, Rupert Grint, Michael Gambon, more cast
Directed By: David Yates
Released By: Warner Bros.
Genre: Family and Children, Fantasy, Action and Adventure

Synopsis:

In the fifth installment in the 'Potter' series, Harry and Dumbledore try to brace Hogwarts for the return of Voldemort, but find their warnings ignored and themselves targeted by the Wizard authorities. Meanwhile, an authoritarian bureaucrat slowly seizes power at the school.

'Shrek the Third' Sneak Peek

Release Date: 05/18/2007

Starring: Mike Myers, Eddie Murphy, Cameron Diaz, Antonio Banderas, more cast
Directed By: Raman Hui, Chris Miller
Released By: Paramount
Genre: Comedy, Animation

In Shrek's latest adventure, the green ogre with a heart of gold must find the rightful heir to the throne of Far Far Away -- or become king himself. Back for the ride are Donkey, Puss in Boots and Fiona -- but they're also joined by a slew of new characters, including a young King Arthur (voiced by Mr. Sexyback himself, Justin Timberlake). Meet the cast and get an exclusive behind-the-scenes peek.

Synopsis:

When Shrek married Fiona, the last thing he had in mind was becoming the next King. But when Shrek's father-in-law, King Harold, suddenly croaks, that is exactly what he faces. Unless Shrek (with the help of his trusted companions Donkey and Puss In Boots) can find a suitable King for Far Far Away, the ogre could be stuck with the job. The most promising candidate, Fiona's cousin Artie, an underachieving Medieval high school slacker, proves to be a more of a challenge than they bargained for.

Radcliffe, Grint and Watson Sign On to Final Harry Potter Films!

Well, we can officially scratch those rumors that suggested Emma Watson was not going to reprise the role of Hermione in the final two Harry Potter films, Harry Potter and the Half-Blood Prince and Harry Potter and the Deathly Hallows. According to a press release, Jeff Robinov, President of Production for Warner Bros. Pictures, made the announcement today. He says, "It would be inconceivable to imagine anyone else in the roles with which they have become so identified, so we are thrilled and proud that Daniel, Rupert and Emma have chosen to complete the arc of their characters in the final two films."

Reports circulated last week that claimed Watson had refused a last-ditch offer of around $4 million to appear in the final two films. Of course, Potter fans were not too happy about the news. However, it now appears none of it was true. With regards to her signing on, Watson states: "I could never let Hermione go-she is my hero! I love her too much and love what playing her has meant to me. I am excited and honoured to be finishing what I started and playing her in all seven of the films." In this day and age, it's pretty remarkable to retain the central part of a cast for a total of seven films. Kudos to Warner Bros. for pulling it off. This is shaping up to be a huge summer for Potter and his clan; the final book in J.K. Rowling's series, Harry Potter and the Deathly Hallows, hits shelves on July 21, one week after Harry Potter and the Order of the Phoenix hits theaters (July 13). Can you fans handle the excitement?

Spider-Man 3 -- Erik's Review

I decided to begin this review with a quote from the 10 year old (maybe 8 or 9) kid who walked behind me as we exited the theater. When his father asked him what he thought about the movie, the boy responded with, "I don't get what the big deal was." Although I kept walking, I wanted to turn around and tell him that if a film like Spider Man 3 came out when I was ten, I would've talked about it for weeks. The special effects alone would've infiltrated my dreams; I'd demand that my parents run out and immediately buy me any action figure associated with the film so that, within the comfort of my own home, I could let my imagination run loose. When I was ten, my friends and I prayed for films like Spider Man 3 - not because of the hotly-debated conversations we could have about the film's potential box office figures, but because it was bursting with the kind of energetic spirit us kids craved. I'm not sure whether kids these days know the power of imagination; part of the problem is that they've grown up in a medicated world without any surprises. And I guess if you're a kid who watched both Spider-Man and Spider-Man 2 on your HD flat-screen TV in between games on your PS3, while trying to decipher the coded text messages your friends are sending, then you might not get what the big deal is here. Or maybe you did get it ... and you're just not impressed.

If anything, Spider Man 3 could be looked at as a healthier form of Ritalin - heck, there's so much going on in this film, kids don't have a lot of time to lose concentration. If you've seen any of the trailers, then I'm sure you already know the basic premise. In between Spider-Man 2 and Spider-Man 3, Peter Parker (Tobey Maguire) has done a bit of growing up. Saving the day is no longer an overwhelming responsibility; instead, he's addicted to the attention. And though he's still madly in love with Mary Jane Watson (Kirsten Dunst), he's become consumed by his own greatness. The geeky, self-conscious kid from Queens has been replaced by a guy determined to be the best at every task he takes on, be it inside the suit or out. He's become the kind of guy who can't help but brag about his own adventures even when someone, like Mary Jane, is simply looking for a shoulder to cry on. Problem is, everyone is beginning to notice ... except for him. To Peter, life couldn't get any better. Sure he's still got some unsettled business with Harry Osborn (James Franco), but he has Mary Jane by his side. A woman he adores. A woman he wants to marry. Well, that's if she says yes.

The greatest thing about Spider-Man 3 is that it doesn't leap into your lap during those opening moments. Director Sam Raimi waits a good half-hour before serving his appetizer (which, in this case, is the first of many confrontations between Peter/Spider-Man and Harry Osborn/New Green Goblin). Some might criticize the film for not jumping right out of the gate, but there's this quiet build that's very enjoyable to watch. And when the rest of the film comes at you like a bloodthirsty pack of wolves, then it's the simple moments you end up cherishing the most. Though he's far from the awkward teenager he once was, Peter is having trouble making the transition from kid to adult. Thus, his relationship with Mary Jane is suffering. Whereas he used to find it tough to balance all these responsibilities at once, the immature side of him has become convinced that, because he's a superhero, he can do no wrong. Whatever doubts and insecurities he still has are now buried deep under several layers of Spidey coolness. Essentially, he's a little boy trapped in a grown-up body - a boy who's immune to real-life struggles, like losing a job or maintaining a successful career.

Once it's established that Mary Jane isn't crazy about the new (and improved?) Peter, the A.D.D. portion of the film begins. This consists of introducing one new character after another, while at the same time trying to tie up any loose ends left over from the previous two films. There's Eddie Brock (Topher Grace), The Daily Bugle's new photographer and Peter's greatest on-the-job nemesis. Eddie is determined to land a staff job by providing the newspaper with a handful of controversial Spider-Man photos. Yeah, like Peter would ever let that happen. There's Flint Marko (Thomas Haden Church), an escaped convict whose only goal is to reunite with his sick daughter and provide her with enough money to get better. (And though we're never really told what's wrong with her, it's nice to know that money solves all our problems.) Of course, along the way Flint stumbles into some sort of particle machine that fuses his body with a whole lot of sand, turning him into Sandman. At the same time, Captain Stacy (James Cromwell) informs Peter that Marko is the guy who killed his Uncle Ben (Cliff Robertson), and not Dennis Carradine (Michael Papajohn). While all this is going on, some sort of alien symbiote conveniently crash lands on Earth in the same spot that Peter and Mary Jane are hanging out. We're not sure what it is or where it came from, but it arrives complete with a fashionable black Spidey suit. Oh, and then there's Gwen Stacy (Bryce Dallas Howard). She's a waste of a character, but we'll get to her later.

All of these new villains begin to take time away from what I feel is the meat and potatoes of the Spider-Man story; that being the relationship between Peter, Harry and Mary Jane. I suppose it could be compared to hanging out with your three best friends in the same spot - your special spot - for years, until one day all of these strangers show up eager to join the party. Suddenly, that unique bond you once shared becomes infected by a slew of folks looking to share your memories. Are the special effects great? Yes. Are the action sequences fun to watch? Yes. But when Peter puts on that black suit, not only does he become a different person, but it also becomes a different movie. One that's too campy, too comedic. Whatever dark (but brief) moments Peter has while in the suit are overshadowed by a silly Saturday Night Fever sequence. Since Peter doesn't know how to be "cool," the alien symbiote helps him project his own ideas of being "cool." And folks, let's just say that none of it is very cool. That being said, it's all a bit too much to handle. And while I have to give credit to Sam Raimi for somehow packing it all in there (and still churning out a decent enough film), I would've been happier if some of this stuff was saved for a future installment.

Case in point: the Gwen Stacy character. Since Raimi and the gang missed the boat early on, failing to introduce Stacy in a spot that would've remained more faithful to the comics, including her here felt too forced. The angle they took (which involved Peter saving Stacy's life, then using her to make Mary Jane jealous) was an interesting one, but definitely rushed. Her character should've come into play in Spider-Man 2. But if you're the type of person who could care less about the silly romantic plot twists and are more interested in Spidey kicking some major ass, then this third installment will not let you down. Though, at times, the inclusion of two villains at the end of the film felt a little too much like Schumacher's Batman films, the battle scenes provide plenty of edge-of-your-seat excitement. If he failed to convince you before, Sam Raimi proves here that he owns this character. And if he refuses to helm another installment, then Sony should cash in their chips and call it a day. In the end, Spider-Man 3 succeeds at being a new form of summer blockbuster entertainment; one that's carefully constructed to appeal to a generation that's hard to impress. Like the character of Peter Parker, hopefully when these kids finally grow up they'll learn to appreciate the little things in life. In the grand scheme of things, Spider-Man 3 might not be a big deal. But getting to experience a major film like this in a packed auditorium with hoards of screaming fans is something to remember. And getting to do so in the company of your father is a memory no one can take away. That, my friends, is a big deal.

www.cinematical.com

Mel Gibson Wants to Do 'Maverick 2'

If you expected Mel Gibson to stick firmly behind the camera following his well-known and drunken tirade, guess again. Looks like the statute of limitations has worn off our collective distaste for the actor, and he's planning to celebrate by mounting a sequel to the 1994 flick Maverick. Word is that James Garner is interested in coming back -- but nothing on the participation of Jodie Foster has been offered thus far. (Which is a shame because Jodie, playing it light for a change, was one of the true highlights of Richard Donner's Maverick.)

According to Hollywood.com, Mr. Gibson is overstuffed with nifty new ideas for Maverick 2: "I think audiences will enjoy what we've got in mind. It won't be happening immediately, but I dare say, it'll happen." He then goes on to say that there'll be no more Mad Max or Lethal Weapon sequels because "there's nowhere to move with those characters." Right, but the characters in a sequel to a remake of an old Western series ... tons of latitude there. Kinda funny that he'd deride sequels with one breath while also floating teasers on a different sequel, but hey, Mel's always been a bit eccentric.

(For the record, this (Jewish) writer holds nothing against Mel Gibson for his nasty remarks. The guy said some stupid things, apologized for them, and moved on. Happens to "normal people" every day -- but it's still kinda tough to forget about it completely, you know? Having said that ... Maverick 2? The first one was cute enough, but ... nah.)

www.cinematical.com

'Grindhouse' Reviewed by Nick Schager

In a pop culture landscape as hungrily cannibalistic as today's, cinematic nostalgia and homage has lost much of its once enticing luster. The indulgent fun of referencing and rehashing the past has worn so thin that even VH1's gaggle of third-rate Best Week Ever and I Love the [Insert Decade] talking heads seem barely capable of mustering enthusiasm for the latest derogatory smack-down on their own industry brethren. The cultural infatuation with retro navel-gazing is now pronounced to the point that it brings into question whether the practice hasn't seriously debilitated our collective imaginations, which have become so narrowly focused that it sometimes feels as if half of our mainstream entertainment takes as its primary influence mainstream entertainment. It's an inward circle that - at least in the cinematic arena - proceeds with no clear direction and even less of a meaningful destination, with deconstruction often taking a back seat to regurgitation as countless filmmakers prove themselves stunted adolescents whose worldview is primarily confined to the movies and TV shows of their youths.

Which is a long-winded way of saying that my skepticism was high for Grindhouse, the nasty, sleazy love child of Robert Rodriguez and Quentin Tarantino that aims to recreate - with every celluloid scratch, Missing Reel title card, cheesy theater advertisement and titillating coming attraction - the experience of a '70s B-movie twin bill. A dutiful and reverential homage to their beloved exploitation flicks, Rodriguez and Tarantino's two-headed beast delivers separate full-length films, Rodriguez's Planet Terror and Tarantino's Death Proof, sandwiched together by hilarious phony trailers from Rob Zombie ("Werewolf Women of the SS"), Edgar Wright ("Don't!"), Eli Roth ("Thanksgiving") and Rodriguez himself ("Machete") that nearly outshine the main events. Theirs is a joint project of exacting replication, though the directors' intentions and execution are - surprisingly, given the "All for one, and one for schlock" unity that infuses the endeavor - far more divergent than one might expect. Rodriguez goes for full-blooded faithfulness, Tarantino goes for genre analysis and reconfiguration, and the results are, ultimately, about as coherent and fulfilling as a typical grindhouse double-feature.

The thrill of exploitation cinema came not just from its subversive, amoral extremism, but also from its furious, sexually-charged, who-gives-a-shit attitude. Such a mind-set was the byproduct of being made on the fringe by marginalized craftsman, and came through via its non-Shakespearean thespians' blunt performances and an aesthetic that radiated scraggly, no-nonsense cheapness. Grindhouse is gleefully dedicated to foisting three-hours-worth of unsavory grime on spick-and-span cineplexes. Yet as the creation of two celebrated and commercially successful directors working with star-studded casts and a heavyweight studio in their corner, its ethos - unlike its venerated predecessors -- isn't one of outsider rebellion but of insider movie-geek goof-offery. Consequently, both films' attempts to push the envelope are hampered by a sense that the whole raunchy thing is, first and foremost, a joke intended to satiate fanboys' hunger for allusions to their favorite under-the-radar actors (look, there's Tom Savini getting torn apart by the undead!) and films (yay, subtle nods to Zombie!).

In terms of straight-up gonzo B-movie madness, Planet Terror is Grindhouse's victor, offering up a Texas-set zombie outbreak saga that's equal parts George Romero, Lucio Fulci and John Carpenter. Rodriguez mimics with such expertise that it's tough to resist his increasingly maniacal tale, which centers on the efforts of mysterious, tow truck-driving bandito Wray (Freddy Rodriguez) and his go-go-dancer ex-flame Cherry (Rose McGowan) as they struggle to survive hordes of monsters created by a noxious military chemical weapon. It's a premise that the Sin City director lustily dives head-first into, piling on so much gushing blood, gnarly gore, tongue-in-cheek humor (the finest recurring bit revolving around Cherry's dream of being a stand-up comedian) and visual gags (prolonged zooms, bad lighting, film stock damage) that his uninhibited zeal becomes infectious. At the point McGowan's deliciously seductive Cherry has her amputated leg replaced by a machine gun – which gets a thorough workout during an explosive finale - the film comes close to achieving a giddy, trashy euphoria.

What holds Rodriguez's effort back from being an outright blast is the self-consciousness (and resultant toothlessness) that permeates all of Grindhouse, with the affectedness of every print blemish, excessively exploding head and corny one-liner undercutting the film's spirit of taboo-tweaking outrageousness. Still, Planet Terror benefits from its maker's ability to moderately subsume his CG-loving stylistic personality in service of slavish genre cliché devotion, a goal that Quentin Tarantino proves wholly uninterested in achieving with Death Proof. Beset by the Pulp Fiction auteur's trademark talkativeness, the second part of Grindhouse's twofer always keeps its "directed by Quentin Tarantino" pedigree front and center, spending the majority of its first half on scenes in which groups of girls engage in banal and insipid conversations about sex and movies. Shout-outs to obscure TV shows (Robert Urich's Vegas) and films (Vanishing Point, on numerous occasion) pepper the inane banter, which QT wants to use as a vehicle for eliciting empathy with his foxy ladies, but which instead merely diffuses most of the high-wire, anything-goes energy that the preceding Planet Terror and mock trailers had so robustly established.

Luckily, Death Proof has a few aces up its sleeve. The first is Kurt Russell, whose old-school charm and viciousness as Stuntman Mike - a facially scarred sexual predator whose lethal weapon is his crash-car - enlivens the film with macho electricity. The second is Tarantino's canny, ulterior modus operandi, as his synthesis of three distinct grindhouse genres - the serial killer thriller, the dragster flick, and the cheerleader film - is designed as both celebration and critique. Tarantino deliberately delivers misogynistic slasher-film goods at first, and then offers a corrective by turning the tables on vehicular rapist Stuntman Mike via a second foursome of hotties who, when not gabbing in a coffee shop (in a femme variation of Reservoir Dogs' intro), prove to be cheery ass-kickers intent on taking back the night. In its desire to comment on (rather than simply reiterate) its source material, Death Proof proves the cleverer of Grindhouse's entries. Unfortunately, that doesn't preclude it from also being the less exhilarating and amusing of the two, though if Tarantino doesn't match Rodriguez's avalanche of exploitation lunacy, he nonetheless at least finds in stuntwoman Zoë Bell - a badass whose car hood daredevilry is awe-inspiring – an authentic, go for broke B-movie goddess for the 21st century.

www.cinematical.com

Ocean's Thirteen Loses One, and is Back to...Twelve?

The final installment for Steven Soderbergh's Ocean's series, Ocean's Thirteen, is coming out this summer -- June 8th to be exact. Last August, Erik shared that this would be the end of the director's Ocean dalliances, and that this sequel was only being made to appease George Clooney. Obviously, this doesn't mean that someone else couldn't again revive the series, but for now it's the end. Of course, whenever you end something extremely popular, it has to go out with a bang. Big names, big action and big endings -- in more ways than one. (Stop reading now if you're antsy about potential spoilers.)

Well, we've already got extra big names added to the star-studded cast, Ellen Barkin and Al Pacino, as Scott Weinberg shared last year. The action, I'm sure it will be there. But what of the endings? Don Cheadle had some interesting things to say about the end of the series and what happens with his character, Basher Tarr -- explosives expert. MTV News says that while other actors have shown an interest in continuing the series, he's out: "It'll be [in theaters] June 8, and I'm taking Basher out in a way I couldn't have anticipated. I hope other people don't see it coming either." Does this mean that they're going to kill him off? If they were, I can't see him spoiling the surprise, so maybe this isn't about him being taken out of the mortal coil, but out of the business? Thoughts?

Rambo IV

After seeing and loving Rocky Balboa, it's a lot harder for me to roll my eyes over the prospect of another Rambo film. That Sylvester Stallone looks ridiculous in these photos really can't be argued, however. We posted a fairly positive script review a while back that bodes well, and it's got a decent cast, but ... man. Seeing the 60 year-old Stallone in a mullet and a low-cut blouse, it's just too much. Most of these shots are of Stallone grimacing, but there's what appears to be a couple of action sequences in the mix as well.

Rambo IV is currently referred to as John Rambo on imdb, a decision that was likely made after Rocky Balboa did well. At various points the film has been called Rambo IV: Pearl of the Cobra, Rambo IV: Holy War, Rambo IV: In The Serpent's Eye, and Rambo IV: End of Peace. At press time, the "powers that be" were not giving serious consideration to my choice: Rambo IV: Electric Boogaloo. Stallone is directing the film, which is shooting in Thailand. The new film is said to open with the highly disgruntled Vietnam vet being recruited by a group of missionaries to protect them against pirates. I smell a Johnny Depp cameo!

Genre: Action/Adventure
Locations: Thailand
Release: May, 2008
Budget: Estimated: $60 Million

Produced by:
Rogue Marble
EMMETT/FURLA
Millennium Films Inc.

Distributors: Lions Gate Films Inc.

Directed by: Sylvester Stallone

Written by: Art Monterastelli and Sylvester Stallone (screenplay)


Kevin Bernhardt screenplay
Kevin Lund screenplay
David Morrell characters
T.J. Scott screenplay
Sylvester Stallone screenplay
Jeb Stuart screenplay


Characters:

Sarah Miller: 28-33, an idealistic, pure, young woman with a shy demeanor and a soulful expression. Her approach to her beliefs and manner is demure. Sarah is a member of a church in Colorado, and has come with other missionaries to deliver humanitarian aid to the persecuted Karen people of Thailand. Believing in the leadership Of Michael Burnett, Sarah is determinedly non-violent, and is initially horrified when Rambo is obliged to use ruthless means to protect them against pirates. Rambo is touched by her idealistic ways that prayer can bring change. But after she and the other missionaries are taken prisoner by sadistic Burmese soldiers, and she is brutally treated by her captors, Sarah is deeply grateful when a grim and merciless Rambo comes to her rescue. Lead;

Arthur Marsh: A hearty, prematurely aged 45-50 years old minister from Colorado, he comes to Thailand after the initial humanitarian mission ends disastrously. Like Sarah, he is an idealist and self righteous. He is meek in manner but passionate. He is way out of his element with all of the brutality and cruelty, unprepared for the violence endemic to Burma. Intent on getting back any of the surviving missionaries, he eagerly spends funds on some very un-Christian men - local mercenaries - and is determined to accompany them to the mouth of hell itself in order to get back Sarah and the others. Lead;

Dick O'Gara: 50s. A soldier. Tough and cynical, with a gritty charm to him, O'Gara is a hard-skinned former military man who has given up his patriotic duty for a desk job in a dank corner of the universe. He is charismatic in an earnest way. The pros and cons of life have given way to a simple gray fatalistic, embittered outlook on the world. A veteran professional with the "American Office of Overseas Activities," O'Gara has probably done more than his share of black bag jobs, and he's handed an unpleasant job of "unofficially" shielding the American missionaries during their illegal incursion into Burma. Amiably respectful towards Rambo, (they are both soldiers although have taken different paths) whose dossier he has clearly read a dozen times, he cajoles Rambo into helping escort the missionaries into Burma, and later talks him into riding to their rescue. He and Rambo are both soldiers but each went a different way. O'Gara later shows up to help escort Rambo and Sarah (the sole survivors) to safety. Lead;

Lewis: 29, British, a former S.A.S. commando, Lewis is the leader of a quartet of mercenaries, sent to retrieve the missionaries captured by Colonel Pa Tee Tint. A guy who wrongly thinks that Rambo responds well to teasing, Lewis wants to get in and out, and clearly wants to take the money and run. A cynical man without ideals, who regards the mission as a waste of time and firepower, Lewis is ready to bail at a moment's notice, convinced the missionaries are dead. Lead;

Schoolboy: 22. He is the youngest of the five mercenaries; six feet tall, lanky and strong enough to carry half his body weight in ammo, Schoolboy is a crack sniper who is as yet uninfected by the cynically greedy pragmatism of compatriots like Lewis. He comes to respect Rambo, and opts to follow his orders rather than accompany Lewis in fleeing the mission. Determined and tough, he dies honorably in battle against Tint's men. Lead;

Reese: The third of the five mercenaries, Reese is African-American, tough as nails, a veteran of three tours in Iraq, who is nicknamed "The Iceman." A man who has seen his share of combat, Reese quickly decides that Burma is a hell on earth, but he's determined to "hold it together" in the face of horror. He accompanies Lewis in an effort to flee Tint's compound, but winds up shot to death. Lead;

Diaz: 28, Panamanian, tan and easy-going. Diaz is the fourth member of the mercenary team, a man who loves to battle. When the others flee Tint's compound, Diaz instead ducks for cover, inclined to wait in hiding and strike, rather than flee in panic and be chopped down. A terse, taciturn warrior, Diaz tries to help Sarah escape while Rambo covers the rear, but he's instantly killed by an exploding mine. Lead;

En-joo: The fifth member of the quintet of mercenaries. En-joo is a barrel-chested former South Korean trooper, an expert in explosives who barely speaks during the mission to rescue the missionaries. Expert at assassination by garotte, En-Joo flees the compound after Lewis and Reese wrongly declare the missionaries to be dead, and winds up dying in battle when the three mercenaries are cornered and shot to pieces. Lead;

Michael Burnett: 45. Michael is the leader of the group of Colorado missionaries, who have come to Burma to bring humanitarian aid to the persecuted Karen tribes people. He's a do-gooder in an arrogant way and has almost a zealot feel to him. Another idealist who claims to have made five trips into the bush, Michael appears to know everything about "the risks," but he's emotionally overwhelmed by the horrors of the trip, and succeeds only in leading his party into the living hell of imprisonment and death in Tint's compound of sadists. Good looking and almost familiar. He and Rambo have a lot of tension as he is jealous of Rambo. Lead.


Story:
Rambo is living a monastic lifestyle in Bangkok and salvaging old PT boats and tanks for scrap metal. When a group of volunteers bringing supplies into Burma disappears, a relative of one of the missing missionaries begs Rambo to find them. He heads off with a team of young guns determined to rescue those that have been taken.

Review: The Hills Have Eyes 2

Directed By: Marin Weisz
Starring: Michael McMillian, Jessica Stroup, Jacob Vargas, Michael Bailey Smith
Released By: Fox Atomic
Released In: 2007

The Hills Have Eyes II (that's part two–not part eleven) is a follow-up to last year's gruesome hit. The Alexandre Aja directed film from last year, was actually a remake of a 70's Wes Craven film, and in fact, that original movie also spawned a sequel. This continuation has absolutely nothing in common with the original save for the title, so those expecting a dog flashback, will be sorely disappointed.

A couple of years have past since the events that occurred in the first picture. Military outposts have been set up in the hills where the mutants wreaked havoc, and when a group of soldiers go missing, a rag tag team of soldier wannabes are sent in to investigate the situation.

The Hills Have Eyes II is the goriest movie I've seen in quite sometime (it features a gruesome birth, a man drowning in fecal matter, brains being ripped from skulls, and flying limbs etc.), and while I don't exactly endorse the way the MPAA runs things, I'm truly surprised this flick bagged an R rating (reportedly, without much of a fight). Recently, I complained that Dead Silence wasn't edgy enough and felt that a PG-13 was would have been more appropriate than an R.

This movie represents the flip side of that coin. I guess it all boils down to context. Last year, director Alexandre Aja fought several battles with the MPAA and was forced to make cuts in order to acquire an R rating. By comparison, this film (directed by Marin Weisz) is much bloodier. The difference is Aja's movie seemed to be about real people in a horrifying situation, making the violent content far more palpable. The Hills Have Eyes II is simply about the gore and nothing else. There are no "real" people in this film. No one worth caring about, so no harm done I suppose. Furthermore, the mutants appear to possess super human strength this time around, so I guess the MPAA just figured no one would take any of this crap seriously.

If you want a movie specifically for the gore content, then you won't at all be disappointed by this movie. Gore, is to this film, what making love is to a porno.

The Hills Have Eyes II was written by Wes and Jonathan Craven, and it is the horror equivalent of pornography. There is no real plot nor any of the social commentary that brimmed just below the surface of the first film. This is simply a "give me my paycheck" project for those involved, made to cash in on what will undoubtedly be a big opening weekend.

The thing is, I like Wes Craven. Even the most exploitive of his efforts (i.e. The Last House on the Left) have something to say. This one doesn't. Perhaps if he would have directed the picture, he would have been able to establish some sort of defining tone. Weisz opts to cut to the chase with what is ultimately a lifeless slice of horror akin to that recent Texas Chainsaw Massacre prequel.

I must admit, I'm a big fan of gore, and there are some truly twisted moments in this picture, but they don't amount to anything. In the beginning, I thought perhaps the movie might go the comical route, but it doesn't. At least the similarly themed Wrong Turn had a bizarre sense of humor going for it.

Last year, I found myself in many heated debates revolving around Eli Roth's Hostel. I championed that movie for it's perversely dark message and solid direction, while other folks dismissed it as nothing more than pornography. To those folks, I present exhibit A: The Hills Have Eyes II. Watch Hostel, and then watch this. There are distinct differences. Hostel has a sense of style and the violence serves a purpose. The Hills Have Eyes II uses the violence as a hook. Beyond that it is style-less and absolutely disposable.