Movie Title: I Am Legend
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“I Am Anecdote” is not a film that sticks closely to it’s source material. While that is it’s biggest flaw, it is also where it shines. If you ha told me two years ago that I’d find misty-eyed watching Will Smith protest “Three Small Birds” in a gargantuan budget motion recount I’d have laughed myself laughable, but this adaptation of Richard Mathson’s untouchable new that -while itself being a vampire story- inspired the entire zombie film genre as we know it takes the legend we all know whether we’ve read the book or not and turns it into an exceptionally personal affair for all of us. One man. One dog. A familiar metropolis deserted by day, but crawling with death by nightfall. This is our setting and it’s one that never gets conventional for me.

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The plague that wipes out Robert Neville’s world is never fully explained, simply inferred to be the result of some sort of failed cure for cancer. Gone from the unique and the novel Vincent Note classic, The Last Man on Earth, is the long struggle of Neville to build his ill daughter, his wife’s tranformation, and the frightening actions of the US government to gain the plague. What it left is simply one man, alone trying to fill his sanity and hopelessly searching for a cure to a disease that has already wiped humanity off the face of the earth and left the “survivors” as rabid vampiric horrors. It’s dark, it’s pathetic, and it’s perfectly human. Will Smith has a penchant for picking bad, schmaltzy films to star in, but no one can stutter his talent and charisma as a leading man. Naturally, this is a film he must carry single-handedly and he does an awesome job of it; he’s dramatic, he’s relateable, and at times, he is amusing. The humor is that of the black and dismal kind, but in a world like his, that is all there is left.

The vampires/zombies/infected in this are all CG and more than a bit reminiscent of Gollum from The Lord of the Rings. I’m not a fan of these kind of effects when practical would have been more effective and was acutely aware of the fact that I watching computer-generated monsters, but they worked nonetheless. The infected show to be repulsive foes for Neville to face, combining suprising cunning, inhuman strength, and impossible agility (hence the CG) . Their only weakness is that sunlight kills them almost instantly. Neville plays a game of cat-and-mouse with them, gathering supplies, researching cure, and searching for survivors by day while making distinct to gain relieve to his fortified apartment before nightfall when the creatures near out to hunt for his hiding region. More than a few shades of 28 Days Later are show in this film, which is comical considering the book and it’s film offspring are largely what provided the elements of that film. So I guess the genre has officially arrive fat circle now.

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Ultimately, it’s the personal touches that compose “I Am Account” such a treat. Bob Marley provides both the soundtrack to Robert Neville’s day and the inspiration for his work, which is both ironic and uplifting at times. This may sound weird for a scare flick, but if you are a fan of Marley (himself a Sage) it makes all the sense in the world as you perceive. Watching Neville attempt to interact with mannequins he’s dwelling up as he returns the movies he rents (in alphabetical order, one at a time) and seeing him snap when one of the figures is moved is both humorous and, at times, intensely disturbing. When relief finally comes, Neville finds he has lost the ability to interact with other humans at all and is relegated to performing lines from “Shrek”, which is playing on his television at the time. The ending is a complete 180 from the book which is disappointing, but not as corny as it could have been. The modern I Am Myth has one of the most luminous and darkly ironic endings ever do on paper, but director Francis Lawrence didn’t extinguish it by go for the glad ending either. The result is a compromise between the pitch blackness of the book and the cloying cheese that many Will Smith fans worship. It turns out a bittersweet and hopeful conclsion that should satisfy both while not thrilling either. But I left the theater with “Redemption Song” aloof ringing in my ears and a happy feeling. If only every movie could do that for me.

“I Am Memoir” fails to adapt the book of the same name to the sizable hide, but succeeds in so many other ways. I can’t give it a perfect catch, but I will give it a very hearty recommendation to fans of Will Smith, zombies, vampires, and Bob Marley. Appreciate.

I Am Account can’t accumulate a fine shake. This Will Smith-led production is the third attempt Hollywood has made to adapt the shiny unusual. None of the adaptions have truly done the new justice (which is a shame), but this version has advance the closest.

Here we have a intellectual beginning; footage of a scientist (played beautifully by Emma Thompson) saying humbly that she’s discovered a contrivance to cure cancer. Quickly forward a few years, and Recent York is utterly devoid of human life, assign for Robert Neville (Will Smith) . As the first half of the film progresses, we learn about his meager living, spending the day harvesting and trying to seek a cure, even now, while spending the night huddled in his protected home as creatures prowl.

His only companion, a extraordinary dog named Sam, protects Neville as Neville protects him. They have a friendship based on loneliness and the human need for someone or something to gain onto. Sam is Neville’s only connection to the past and the only draw to portray what shrimp humanity is left, either in the world or Neville himself. This period in the movie is pitch perfect, puncuated by one or two unsightly sequences that instill excellent awe.

Unfortunately, the last half of the film deteriorates into an action movie that completely changes the meaning of the words “I Am Epic.” Don’t salvage me irascible, it’s mostly done really well. Constantine director Francis Lawrence has a ample handle on the action and delivers some sterling scenes. But, it becomes muddled and veers off completely from the new. My biggest complaint, though, is the utilize of CGI. Instead of using valid flesh and blood actors, all of the creatures are created with CG and they examine incredibly false when lined up next to valid people. In the beginning, it’s not a dilemma but as you witness more of them (and you will) it’s glaringly certain. And annoying.

All of this I was expecting going in, though. Considering that the film was co-written by Akiva Goldsman who also wrote I, Robot, I knew this version would stray from the source material impartial as I, Robot did. As a movie, it’s genuinely thrilling and creates the perfect balance of tension and action through most of its entirety. And, surprisingly, Will Smith shows that he’s a really worthy actor as he has to not only tackle many conflicting emotions during the two hour rush time but he also has to do so without having considerable of anyone to react to. Spending a kindly hour or so without another single actor for Will Smith to work with was a gamble and it paid off.

Your enjoyment of the film is entirely based on what you bring to the table. If you’re coming to this film expecting to peep the book arrive to life you’ll be sorely disappointed. However, if you’re looking for a noble action movie that actually has a qualified anecdote and a human aspect, you’ll be hard-pressed to glean one as thrilling recently.
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Scarlett Johansson and Hugh Jackman star in this hilariously twisted tale of murder and mystery. When an inquisitive college journalist (Johansson) stumbles upon new clus to a string of murders, her investigation leads directly to a handsome businessman (Jackman), who draws her in with his mysterious charm. Could a whirlwind romance with the subject of her search also become the most dangerous scoop of a lifetime? Experience the laughs in this witty new comedy that will have you gussing until the very end.

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Walt Disney’s LADY AND THE TRAMP, filled with memorable music and purebred fun, now shines like never before with an all-new digital restoration! Embark on a thrilling adventure with the most unforgettable characters: Lady, a lovingly pampered cocker spaniel; Tramp, a mutt from across the tracks with a heart of gold; Jock and Trusty, Lady’s best friends; and Si and Am, two of the most devious cats to prowl across the screen. The happiest of endings takes place on a lovely bella notte as Lady learns what it means to be footloose and leash-free. Unleash all the fun and excitement in this 2-Disc Special Edition, including never-before-seen deleted scenes, 5.1 Disney Enhanced Home Theater Mix, all-new games, making-of secrets, and much more!

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When a bomber, a patricide, a pornographer, and a mad biker, together with various other forms of social detritus, break free from jail, it is not surprising that mayhem follows in their wake. What is surprising is the degree of sympathy that brilliant young director Toshiaki Toyoda (”Blu Spring”) elicits with elegant ease from the spectator, as the gang of misfits roams the land in a despair that is cruler for being comic. This is humanity on the run to nowhere. Although originally inspired by “The Great Escape”, the film has more of a feel of Les Miserables mixed with a hallucinogenic, cut with speed. A truly original addition to the jailbreak genre!

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The Classic Shocker from DARIO ARGENTO, Director of THE BIRD WITH THE CRYSTAL PLUMAGE and SUSPIRIA

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Originally released in 1971, THE CAT O’NINE TAILS secured the international reputation of director Dario Argento as `The Italian Hitchcock.’ This is the definitive version of Argento’s masterful second film, now fully restored from its original camera negative and presented completely uncut and uncensored.

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Stationed in the Soviet Union, U.S. spy Jeff West (Edward Albert) is betrayed by the C.I.A. and, after a fixed trial, sentenced to certain death at a dreaded gulag for political prisoners. He assumes the name of a dead petty thief to reroute himself to a minimum security camp, where he plans his escape over the icy tundra. The suspicious camp commander, Kolya, plots to expose West. Locked in a final confrontation, West and Kolya face off over thirty-nine miles of ice as the brutal game climaxes in a final run to freedom.

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Here’s hoping James Mangold’s big, raucous, and ultrabloody remake of 3:10 to Yuma leads some moviegoers to check out Delmer Daves’s beautifully lean, half-century-old original. That classic Western spun a tale of captured outlaw Ben Wade (Glenn Ford)–deadly but disarmingly affable–and the small-time rancher and family man, Dan Evans (Van Heflin), desperate enough to accept the job of helping escort the badman to Yuma prison. Wade, knowing that his gang will be along at any moment to spring him, works at persuading the ultimately lone deputy to accept a bribe, turn his back on “duty,” and go home safe and rich to his family. That the outlaw has come to admire his captor intriguingly complicates the suspense. All of the above applies in the new 3:10, but it takes a lot more huffing and puffing to get Wade (Russell Crowe this time) and Evans (Christian Bale) into position for the showdown. Mostly, more is less. To Mangold’s credit, his movie doesn’t traffic in facile irony or postmodern detachment; it aims to be a straight-up Western and deliver the excitement and charisma the genre’s fans are starved for. But recognizing that contemporary viewers might be out of touch with the bedrock simplicity and strength of the genre–not to mention its code of honor–Mangold has supplied both Evans and Wade with a plethora of backstory and “motivations.” At the overblown action climax, the crossfire of personal agendas is almost as frenetic as the copious gunplay. (By that point the movie has killed more people than the Lincoln County War.) Best thing about the remake is Russell Crowe’s Ben Wade, a Scripture-quoting career villain with an artist’s eye and a curiously principled sense of whom and when to murder. As his second-in-command, Ben Foster fairly pirouttes at every opportunity to commit mayhem, and Peter Fonda contributes a fierce portrait of an old Wade adversary turned bounty hunter for the Pinkerton detective agency. –Richard T. Jameson

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