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Hudson and Rex - (Apr 18th)
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Police Interceptors- Pursuit and Capture - (Apr 18th)
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I have been pointing my gun at a lot of people this week. A box office failure and a neo-noir film that confounded critics and fans alike, The Black Dahlia now appears to be a pic that has had its strengths ignored. As the clamour to kick Brian De Palma continues unabated to this day, and the point blank refusal to accept that Josh Hartnett is a better actor than the likes of Pearl Harbor suggests, it's a film worthy of a revisit by genre/style fans alike. Plot revolves around the infamous murder of one Elizabeth Short in Hollywood, 1947. An aspiring actress who was found butchered and her murder to this day remains unsolved. De Palma and his writer Josh Friedman adapt from noir legend James Ellroy's novel of the same name, the crux of the story is about two hot-to-trot detectives who get involved in the Short case, and pretty soon there is a can of worms that has been shaken and opened, and there's dizzying worms everywhere - we think? De Palma loves noir, he has dabbled with it for a long time, not all of it works, but often he delivers for like minded cinephiles. With expectation levels high and following in the slipstream of the critical darling that was L.A. Confidential, Black Dahlia never really had a hope of achieving its lofty ambitions, yet it's a tremendously realised picture from a noir stand point. Whilst it showcases the technical wizardry of the director. The charges of it being convoluted are fair, it's a spinning narrative, stories within stories, characterisations obtuse, but so was The Big Sleep! I know, I know, this is not fit to lace the boots of Hawks' genius movie, but tricksy narratives have always been a fundamental part of many a film noir, so why the distaste for this one? Especially since the period design, costuming, styling, photography and characterisations are so rich in detail? For instance Hartnett's detective is gumshoe nirvana, while Scarlett Johansson and Hilary Swank fatale the femme with mischievous glee. But of course De Palma then spells it out for the finale, explaining things, a sort of macabre wrap up for those that needed it. Either way he was never going to win, it's too complex, it didn't need spelling out, while Mr. De Palma we have to tell you that your characters have been too cold, we don't feel them?! Huh? This is noirville, a place frequented by bad people, idiots and hapless dreamers, of dupes and double crossers. Hell there's even a suggestion of necrophiliac tendencies in this, and that's before we even delve into the machinations of the two femme fatales, a family that's lacking Adams Family Values and coppers of dubious motives. Yeah, it's cold, and yes De Palma is guilty of trying to please all parties by covering all bases, but it's far from being a stinker. Haters of De Palma, Hartnett and complex noir narratives can knock two points off of my own personal rating, otherwise it's 7/10.
OK, I'm in the minority here, but I liked it. I also like period pieces and I like this period, so...this might be a bit bias. But it has Scarlett Johansson in it and she is always watchable even when she is at her worst. And it has Josh Hartnett and I really do like him as well, and I like him in the sort of William Holden sort of he tends to do well when he does a voice over kind of way. Except he isn't dead in a swimming pool at the start of the film. However, Mia Kirshner is certainly dead at the start of the film and she's one of those actors that usually does a great job despite being constantly over-looked. What you have is a film VAGUELY about The Black Dahlia, VAGUELY about a couple of buddy cops with a secrete, VAGUELY about a love triangle, and VAGUELY about the period....and that is why it didn't sit well with so many people. It was Vaguely about a lot of things and never exactly about any of them. However, there is enough mystery to it to hold my attention, enough style to make it cool and fun, and good enough acting to make it believable. In other words, it still entertains despite the mess. Because of that, 10 out of 10, there is a lot wrong with the film, but ultimately it achieves its goal.
A psychotic sniper plans a massive killing spree in a Los Angeles football stadium during a major championship game. The police, led by Captain Peter Holly and the SWAT commander, learn of the plot and rush to the scene.
Sunny Day is a dark comedy that explores a day in the life of Trevor Reynolds, a successful real estate agent who has everything a young man could want - looks, money prestige, women - everything but happiness, that is. In an effort to find this so called happiness, Trevor attempts to make a positive change in himself and the world around him. There's just one problem: he hates himself and the world around him. And the results are always the same for Trevor whose shallow, self-absorbed outlook makes any change nearly impossible.
Andrew returns to his hometown for the funeral of his mother, a journey that reconnects him with past friends. The trip coincides with his decision to stop taking his powerful antidepressants. A chance meeting with Sam - a girl also suffering from various maladies - opens up the possibility of rekindling emotional attachments, confronting his psychologist father, and perhaps beginning a new life.
Catherine, a novelist with an insatiable sexual appetite, becomes a prime suspect when her boyfriend is brutally murdered - a crime she had described in her latest story.
A retired San Francisco detective suffering from acrophobia investigates the strange activities of an old friend's wife, all the while becoming dangerously obsessed with her.
After years of increases in the greenhouse effect, havoc is wreaked globally in the form of catastrophic hurricanes, tornadoes, tidal waves, floods and the beginning of a new Ice Age. Paleoclimatologist Jack Hall tries to warn the world while also shepherding to safety his son, trapped in New York after the city is overwhelmed by the start of the new big freeze.
Ben Sanderson, an alcoholic Hollywood screenwriter who lost everything because of his drinking, arrives in Las Vegas to drink himself to death. There, he meets and forms an uneasy friendship and non-interference pact with prostitute Sera.
John Shaft is back as the lady-loved black detective cop on the search for the murderer of a client.
The mostly true story of the legendary "worst director of all time", who, with the help of his strange friends, filmed countless B-movies without ever becoming famous or successful.
All grown up in post-apocalyptic 2018, John Connor must lead the resistance of humans against the increasingly dominating militaristic robots. But when Marcus Wright appears, his existence confuses the mission as Connor tries to determine whether Wright has come from the future or the past - and whether he's friend or foe.