en-us http://eyeweekly.com/film/onscreen/article/27964 2008/05/16 http://eyeweekly.com/film/onscreen/article/27964 http://eyeweekly.com/film/thisjustin/article/27723 2008/05/15 http://eyeweekly.com/film/thisjustin/article/27723 http://eyeweekly.com/film/thisjustin/article/27602 2008/05/14 http://eyeweekly.com/film/thisjustin/article/27602 http://eyeweekly.com/film/onscreen/article/26426 2008/05/02 http://eyeweekly.com/film/onscreen/article/26426 http://eyeweekly.com/film/interview/article/25805 2008/04/30 http://eyeweekly.com/film/interview/article/25805 http://eyeweekly.com/city/scrollingeye/article/25810 2008/04/29 http://eyeweekly.com/city/scrollingeye/article/25810 Atom Egoyan. The Innis College prof and the recent recipient of a humanitarian arts prize worth $1 million (alas, he had to share it with Tom Stoppard and Amos Oz) is back with Adoration, a locally shot drama that integrates favourites themes like alienation and identity with such contemporary phenomena as social-networking sites and terror-plot paranoia. Scott Speedman and Rachel Blanchard star. ]]> http://eyeweekly.com/film/thisjustin/article/25394 2008/04/24 http://eyeweekly.com/film/thisjustin/article/25394 http://eyeweekly.com/film/feature/article/25138 2008/04/23 http://eyeweekly.com/film/feature/article/25138 Inside, audiences suffer through dozens of Prom Nights. Occasionally bad horror movies will cross the camp barrier and enter the “so bad it’s good” category, but this is not one of those cases. ]]> http://eyeweekly.com/film/onscreen/article/24004 2008/04/12 http://eyeweekly.com/film/onscreen/article/24004 Smart People is Wonder Boys replayed at 16 rpm. The spark and wit that animated Curtis Hanson’s earlier film — also set in Pittsburgh, which is apparently America’s capital of midlife malaise — are sorely absent in this effort by novelist-turned-screenwriter Mark Poirier and director Noam Murro. ]]> http://eyeweekly.com/film/onscreen/article/23753 2008/04/11 http://eyeweekly.com/film/onscreen/article/23753 Nim’s Island is a throwback to the children’s movies that dominated the pre-Pixar era. While it may take place in the present day, the movie presents a fantasy world that’s completely divorced from our own. While that’s certainly a fine avenue to pursue in a kid's film, it can be really hard to sit through when presented with nauseating sincerity in an age of irony. ]]> http://eyeweekly.com/film/onscreen/article/23273 2008/04/05 http://eyeweekly.com/film/onscreen/article/23273 The Ruins, the camera lingers on the bikini-and-speedo-clad bodies of college-age American tourists lounging by the pool at a Mexican resort. This being a horror film, we know that these kids are going to venture beyond their safe turista experience and get themselves into trouble — and that their conspicuously beautiful bodies are in for some serious blemishing. ]]> http://eyeweekly.com/film/onscreen/article/23098 2008/04/04 http://eyeweekly.com/film/onscreen/article/23098 Cookie’s Fortune and the Coen Brothers in The Hudsucker Proxy, O Brother Where Art Thou and Intolerable Cruelty — all those movies have their merits, but next to the best of McCarey, Hawks and Capra, they’re doomed to come up craps. And while you’d think starring in those last two — three, if you count the forthcoming Burn After Reading — would’ve taught George Clooney to be wary, he still throws himself at the challenge with all due moxie in his third feature as director. ]]> http://eyeweekly.com/film/onscreen/article/23023 2008/04/03 http://eyeweekly.com/film/onscreen/article/23023 http://eyeweekly.com/film/onscreen/article/22979 2008/04/03 http://eyeweekly.com/film/onscreen/article/22979 http://eyeweekly.com/city/scrollingeye/article/23069 2008/04/03 http://eyeweekly.com/city/scrollingeye/article/23069 Moon, will eventually reunite with his mother Rosario (Kate Del Castillo) — an undocumented maid eking out a tenuous living in Los Angeles — is never really in doubt; the various crises he experiences en route to this emotional reunion are merely exercises in marking time.   ]]> http://eyeweekly.com/film/onscreen/article/23101 2008/04/02 http://eyeweekly.com/film/onscreen/article/23101 http://eyeweekly.com/city/scrollingeye/article/22762 2008/04/01 http://eyeweekly.com/city/scrollingeye/article/22762 Date Movie and Epic Movie fame.  Of course, Superhero Movie never comes close the heights of Airplane! (or The Naked Gun, invoked both in the casting of Leslie Nielsen and a climactic flying-wheelchair gag), but nor does it plumb the depths of Meet the Spartans — which is to say that it’s nowhere near the worst film of the year. ]]> http://eyeweekly.com/film/onscreen/article/22568 2008/03/28 http://eyeweekly.com/film/onscreen/article/22568 Stop-Loss, which is probably the least politicized Iraq war drama to date, probes the hardwired loyalties of homecoming grunts without belittling their patriotism. The film is hardly a recruitment poster — the group of soldiers who return to their small Texas hometown are riddled with physical and psychic scars and marinate in booze to numb the pain — but like its obvious touchstone, the 1978 Jon Voight Vietnam vehicle Coming Home, it respects the sacrifices of the battlefield and differentiates between criticizing the war and those who fight it. ]]> http://eyeweekly.com/film/onscreen/article/22192 2008/03/27 http://eyeweekly.com/film/onscreen/article/22192 http://eyeweekly.com/city/scrollingeye/article/22213 2008/03/27 http://eyeweekly.com/city/scrollingeye/article/22213 Meet the Browns contains the best scene that Tyler Perry has filmed — a tense yet tender exchange between Angela Bassett as a single mom of three at the end of her tether and Irma P. Hall as the elderly neighbor who occasionally cares for her youngest daughter. For approximately five minutes, Perry eschews his usual past-the-rafters melodramatics, and his marvelous actresses strike nothing but true notes. ]]> http://eyeweekly.com/film/onscreen/article/21921 2008/03/25 http://eyeweekly.com/film/onscreen/article/21921 Drillbit Taylor, a throwaway Apatow and co. joint (co-written by Rogen) that’s essentially a junior Superbad sans sex ]]> http://eyeweekly.com/film/onscreen/article/21529 2008/03/21 http://eyeweekly.com/film/onscreen/article/21529 Shutter is probably not going to be the last American remake of an Asian horror film — its source material is Thai if you care — but it feels like an endpoint all the same, making the dullest and most superfluous iteration yet of the lurking-dead-girl-torments-the-living storyline. ]]> http://eyeweekly.com/film/onscreen/article/21702 2008/03/21 http://eyeweekly.com/film/onscreen/article/21702 http://eyeweekly.com/city/scrollingeye/article/21222 2008/03/18 http://eyeweekly.com/city/scrollingeye/article/21222 Doomsday is the British writer-director’s first misfire after the B+ B-movies Dog Soldiers and The Descent. The earnest craftsmanship and effective lo-fi scares in those films (the first an old-school werewolf throwdown; the second a spelunking-gone-bad thriller) suggested that Marshall might be the UK’s answer to John Carpenter. It unfortunately follows that Doomsday — set some 30 years in the future after a deadly virus has left the whole of Scotland under military quarantine — is a bald-faced rip-off of Escape From New York, right down to the ass-kicking one-eyed protagonist. ]]> http://eyeweekly.com/film/onscreen/article/21025 2008/03/17 http://eyeweekly.com/film/onscreen/article/21025