Film Reviews

Back in Town is George Carlin's ninth HBO special. It was also released on CD on September 17, 1996. This was also his first of many performances at the Beacon Theater in New York City. He rants about Abortion, The death penalty, prison farms, fart jokes, free floating hostility and words.

Mackenzie Crook and Johnny Vegas star as the bird-chasing, self-proclaimed "Butch Cassidy and the Sundance Kid" of Birmingham in this £3 million brit-com about two lowlifes with active fantasy sex lives who deliver potatoes to various restaurants and grocers.

This lyrical, modern-day film noir finds cynical hit man Mick (Anthony LaPaglia) tiring of his job and asking his boss, mob kingpin George (Peter Boyle), for time off. George gives him the assignment of his life, however, prompting Mick's soul-searching to reach new heights. Mick is asked to kill the sultry Fiona (Mimi Rogers), who owes George money and claims she wants to die. But as Mick spends time with her, he finds himself falling for her.

A popular high school girl finds out that a boy she slept with is HIV positive.

After his daughter died in a hit and run, Freddy Gale has waited six years for John Booth, the man responsible, to be released from prison. On the day of release, Gale visits Booth and announces that he will kill him in one week. Booth uses his time to try and make peace with himself and his entourage, and even finds romance. Gale, whose life is spiraling down because of his obsession towards Booth, will bring himself on the very edge of sanity. At he end of the week, both men will find themselves on a collision course with each other.

A high school baseball coach and a down-on-his-luck private investigator form a bond as they scour New York City for the coach's wife, who's run away with a second-rate rock star

Uzak/Distant chronicles the numbing loneliness, longing, and isolation in the lives of two men who are consumed by their own problems. Istanbul photographer Mahmut reluctantly receives his relative Yusuf, but the mingling of their lives does little to alleviate their detachment.

The re-imagining of VE Day in 1945, when Princess Elizabeth and her sister, Margaret were allowed out from Buckingham Palace for the night to join in the celebrations, and encounter romance and danger.

Elvis & Madona is a romantic comedy that deals with an unusual subject in a delicate and realistic way: a love story between young lesbian Elvis and a transvestite Madona. The story takes place in Copacabana, neighborhood in Rio de Janeiro. The screenplay comprehends a full array of human types and, by following the journey of both protagonists, illustrates the conflicts generated by the evolution of behavior and custom. It is a modern and agile picture, and its soundtrack will follow the latest musical trends. Nevertheless, it is essentially a love story, proving that love can exist in any situation.

Tai is 17 years old. Naim is 20. She's Israeli. He's Palestinian. She lives in Jerusalem. He lives in Gaza. They were born in a land of scorched earth, where fathers bury their children. They must endure an explosive situation that is not of their choosing at an age where young people are falling in love and taking their place in adult life. A bottle thrown in the sea and a correspondence by email nurture the slender hope that their relationship might give them the strength to confront this harsh reality to grapple with it, and thereby ever so slightly change it. Only 60 miles separate them but how many bombings, check-points, sleepless nights and bloodstained days stand between them?

Running from the law after a bank robbery in Mexico, Dad Longworth finds an opportunity to take the stolen gold and leave his partner Rio to be captured. Years later, Rio escapes from the prison where he has been since, and hunts down Dad for revenge. Dad is now a respectable sheriff in California, and has been living in fear of Rio's return.

A young, once-great Hollywood film director refuses to accept changing times during the early 1930s, and confines himself to his decaying mansion to make silent porn flicks.

Street pimps, all of them African-American, discuss their lives and work: getting started, being flamboyant, pimping in various U.S. cities, bringing a woman into their group, taking a woman from another pimp, and the rules and regulations of pimping. The men are clear: it's about money.

In his 13th film, Godzilla takes a supporting role to the far more prominently featured Jet Jaguar, an Ultra-Man like robot. Aliens take control of Earth's monsters and begin using them to destroy the human race. Jet Jaguar decides to stop the attack by recruiting Godzilla and enlarging himself to Monster-size.

Quinn Forte had it all: power, money, a brother who idolized him, and a woman who loved him. He also had enemies. In the course of one night, he loses everything. Betrayed by someone in his inner circle, Quinn is set up and arrested. His father, the patriarch of the criminal empire is killed and his brother suspects that Quinn is behind it all. When he's released from jail he tries to escape the demons from his past, but that becomes an impossible task. Campbell, the ruthless new leader of "The Company" won't let him leave in peace. So instead of escaping them, Quinn fights back. He joins forces with his former henchman and friend, The Swede, and takes on his enemies head on.