Cast: Milla Jovovich, Ali Larter
Director: Paul W.S Anderson

A movie based on Capcon's video game of the same name, “Resident Evil: Afterlife” delivers a bland array of slow motion running scenes, zombies, blood and one huge ax swinging monster. Anything more would have been unexpected. An end of the summer action movie, there was less connection to these characters than all four movies prior. Three years after “Extinction” your forced to be drawn into another misleading bore of a movie.

Alice (Milla Jovovich) is brought back into the fray of undead. After meeting back up with Claire (Ali Larter) in Alaska, “Resident Evil: Afterlife” continues to drag along dead space. It's paced at a zombie speed, with an emotional drive collapsed even further down in some unwanted grave. Walking through each beat with no ambition. Characters were brought in almost to a necessity. Familiar names found their way into the script, like Chris Redfield and Wesker both whom were highly unused. Even in the climatic battle, what was experienced in Capcon's “Resident Evil” franchise, was dealt in a sad dwindling manor. There was more excitement in “Afterlife's” trailer than all 89 minutes of it's full length travesty.

On a positive note there is an airplane moment that was very fun. It lasted for a moment, but does get you back up in your seat to no avail. There was also signs of another “Resident Evil” movie to come, ensuring a redemption of a chance to make a movie like no other. Milla and Ali, were good. They deserve credit for being able to keep their minds focused. It's not their fault of “Resident Evil's” failure. It's always a nice touch to see a strong heroic woman in any part. It inspires you to realize, people can make things happen if they are ever forced to.

Sadly, all four movies failed to hold true to it's video game design. Taking bits and pieces from throughout “Resident Evil's” series and warping it for a cinematic failure. “Afterlife” tried disparately to rediscover what it was they had lost in “Extinction”. Bringing it from a bright dessert look to that of a grimy dirty texture. Still never coming close to what “Resident Evil's” first outing did to capture the games vibe. Completely out of sync with a deep storyline, character relationships and its fans, “Resident Evil” just never lets you in. It's hard to hold on when you just don't get motivated to follow. Even killing off each character had no flair. A cut and paste attitude doesn't help entertain. It's “Resident Evil”, bring back that closed-in feeling. When zombies surround your position only to be reminded you're running out of bullets. Ah, to be eating alive again...

There's so much material to “Resident Evil's” mythology, that just never seems to be used to its full potential. A fan base filled with people who are willing to give up ten dollars to see Milla run around killing the undead. With so many zombie movies in our history, the appeal of “Resident Evil” was always its vibe. To sit in your room late at night, in pure darkness, playing one of Capcon's most frighting games brought to life. Even the newer versions had something about them that grew with each experience. Not that each movie had to be like it's game counterpart, but at least the vibe. The feel of a game loved by millions.

Peace and hope, until again...
~ Thomas J Bellezza

Cast: Jason Bateman, Jennifer Aniston, Jeff Goldblum, Juliette Lewis
Director: Josh Gordon, Will Speck

A film based on a short story titled “Baster” by Jeffrey Eugenides, “The Switch” hit theaters opening 7th at the box office. Originally tilted “The Baster”, was a finely molded romantic tale. Pretty well timed beats within comedic, yet touching moments. Bateman, who plays Wally Mars, really captures his character's reserve. Always a pleasure to see back on any silver screen, his chemistry with Aniston doesn't make trick an audience, but clearly she is felt as a secondary character. Rounding out “The Switch” is the ever annoying Juliette Lewis, and excellent Goldblum.

Lewis' character felt like your basic mean friend that doesn't get along with the best friend's love interest. Nothing new there, nothing explored. The banter is limited to a few scenes, but her screen time wasn't used properly. Not very gifted as an actor, her life is basically overly wasted in films. It's time we forget about what she did in “Natural Born Killers”. If you're not distracted by her incoherency you'll notice a performance by Bateman. There's a fine line to each emotional cue while watching “The Switch”. Bateman makes you giggle, tear, and feel his predicament. There are a few antics resembling a Ben Stiller film but nothing to scare you away or cringe. This film concentrates more on a father/son relationship, then a growing love connection between two best friends.

There is a little hope for Aniston in this film. Her type-casting has become mundane, weak and disturbing. There's much more to her character in a few moments where you can see her acting. There's a movie out there for her with real drama involved. She has chops and should really be given an opportunity to express them. Lovely to look at gets boring after twenty-six films, plus there is no evidence of Rachael from “Friends” left in her rolls. A good sign for progress, but now let's hope she gets off this dreaded bland plateau of her career. Even in her past films her drama style is just her being reserved. It's not always an actors fault, but a director should be there to help guide any thespian making their mark in immortality.

A movie plotted around a 40-year-old woman (Aniston) turns to a very progressive form of artificial insemination. Seven years pass to only reunite with her best friend (Bateman) who has been living with a secret; he replaced her preferred sperm sample with his own.

It's delightful to see how it turns out, but at times it seems sped up. As if scenes were cut up, and character development was sacrificed for time limits. Coming in at an hour and forty minutes, it's still a nice take on a movie written about a thousand times before. “The Switch” is a good nighttime movie for a romantic at heart. Curl up with your loved one to enjoy this family friendly PG-13 flick. Not worth an evening out to the theater for twelve dollars a ticket, but well worth a video rental. NetFlix anyone?

Peace and hope, until again...
~ Thomas J Bellezza

Cast: Ron Perlman, Selma Blair, Doug Jones
Director: Guillermo Del Toro

Still fighting the demon inside himself we find Anung Un Rama; Agent Codename Hellboy (Ron Perlman), Liz Sherman (Selma Blair) and Abraham Sapien (Doug Jones) continuing their work in The Bureau for Paranormal Research and Defense. This movie, beautifully designed with director Guillermo Del Toro’s brilliance, captures illusionary vision across one’s eye. Genitally bursting his audience with witticism, excitement and a perfect blend of humor laced over touchable emotion. Flawlessly outdoing Hellboy’s first film, Hellboy II: The Golden Army, eases its story into open arms.

Each actor sets his/her tone for Hellboy II, bringing character development up a notch with skillful subtleties. Moving a basic storyline over a complex world. Lines of dialogue tackled with perfect accuracy complemented unexpected angles through cinematographer Guillermo Navarro's (Pan's Labyrinth) eyes. For 110 minutes viewers can take in all Hellboy II's elegance from master stage designs to random costumes and even breathtaking exterior settings. What could have been left to one's20imagination was brought to life. Even choreographed fight sequences were blissfully accomplished in a rare style of wireless acrobats done with trampoline. All quietly hidden away into built sets. Something Guillermo Del Toro had said he might use in his up and coming project.

Overly exuberant side note: Danny Elfman ... Musical Composer for Hellboy II: The Golden Army.

Our heroic threesome are less one original character, John Myers, but are welcomed a few new faces... bodies... well, if you know the comic books you will be happy to see Johann Krauss... that’s two S’s. Voiced by none other than Family Guy’s own Seth Macfarlane. When introducing a new flavor into any formula one might assume disaster. Be assured there is nothing wrong with Johann’s accompaniment. Also joining Hellboy’s cast are Prince Nuada (Luke Goss) and Princess Nuala (Anna Walton). Their envelopment really connected Hellboy’s Comic world with our real world. Where Hellboy fans where wishing its first installment would go, The Golden Army delivers.

There seems to be a sense, in movie business, of what makes a good comic book movie great. Batman Begins has become a standard archetype for superheroes coming to life with exceptional storytelling. Spiderman for your kid friendly epics, if you want to cash in a billion dollars over 3 movies. And the first Superman movie for finding a good mix of love20filled action.

Hellboy took away its comic book “archetype” while establishing a balanced success in what makes a good movie great. Yes, the story was basic. Yes, the dialogue was cheesy at times. Yes, the movie seemed over done on Del Toro’s accomplishment with Pan’s Labyrinth. BUT all was effortlessly brought to life in calibration with Hellboy’s cast and crew. Building on a catalogue of back history, delving into relationships; friends or lovers, Hellboy really showed the screen how you can take a comic book story and turn it into a wondrous display of movie expression.

If you are looking for action, drama, adventure and truly enjoy cinema for its artistic integrity, Hellboy II: The Golden Army is the newest “archetype” for a well crafted explosion of fun filled fantasy come to life. Finally a 4 star summer movie fan boys can leave without complaining over each little detail.

For a character that has span multi media's such as comic books, novels, cartoon DVD’s, video games and now two motion picture movies Hellboy seems to have found his spot in our hearts. We can only hope that Hellboy’s cynical remarks, cool exterior and suave approach while smashing his problems away, continue forward.

So from the banging walls of The guy next door…
~ Thomas J Bellezza

Cast: Will Ferrell, Anna Friel, and Danny McBride
Director: Brad Silberling

From a director who started out with such shows as L. A. Law to Felicity, we get Land of the lost staring Will Ferrell, Anna Friel and of course Danny McBride. From start to finish this movie had a lot going for it in small doses. They took what most would consider a “serious kids show” to a level of satire. Making the obvious funny things from The land of the lost television show poignantly funny in this movie version. Each performer easily brought something special to this sub-par film of comedic exploration.

In a movie meant for summer excitement, this is a hit or miss experience. There is plenty of laugh spots throughout, which are at times corrupted by over the top silliness. It is here that Danny McBride really makes those moments his own. From how he says a line, to his actions on screen. There are very few scenes he is in that drag during his ramblings. Danny McBride fills this movie with changing tempos polished over in designed vocal freedom. As if his improv was spilling wonderful genius.

Bumping around in jester like buffoonery to a beat lost in repetitive type-casting, Will Ferrell again played a moron character who overcomes his inner weaknesses. Land of the lost became a cut and paste event for mister Ferrell, playing Doctor Rick Marshall, who invents a theory to pass through time and space dimensions. His theory tests people as his research goes south. Enter Anna Friel, the love interest who motivates Dr. Rick Marshall to make effort with his theory and finish his invention. She was delightfully witty and played off Jorma Taccone, who portrayed a lovable Cha-ka, without flaw.

Will finally finishes his invention, which leads to a waterfall action sequence reflective of the Land of the lost television series, that brings them into this new dimension. From here they were forced into a small cave and relied only on any equipment they had brought. One thing leads to another and the whole group is forced to work together and find a way to get home. It is sort of a “everything works out” family moment in this movies' conclusion.

Where in the series they never had a chance to conclude to their way back home. In the movie there is a wonderful almost humor-filled moment where Danny McBride's character stats behind for a final laugh where everything works out fine. Where throughout the movie everyone was complaining about the women from Cha-ka's tribe, turns out to be a wonderful surprise for McBride's life in the Land of the lost.

Some changes made to this movie were much more entertaining than its former medium. From an intelligent dinosaur to really slow Sleestaks. They each gave a little color to an otherwise bland presentation of supporting characters being dragged around by its lead actor. Changing their relationships from being family to some tour guy (Danny McBride), and a woman instead of their child (Anna Friel) made a much more interesting journey into the lost. There was a great mixture of landscapes that molded well into different environments. Director Brad Silberling used his canvas well, it just came down to its script being somewhere in the land of the lost. Luckily technology made no need for clay or time laps photography.

This is a movie one may want to miss in theaters if money is tight or you have a few bucks to not waste. As always, support your local theater. until again, the guy next door.

~ Thomas J Bellezza

Staring: Clive Owen, Julia Roberts, Tom Wilkinson, Paul Giamatti
Director/Writer: Tony Gilroy

Here's a movie that starts off slick, smooth and filled with possibilities. Clive Owen's character is introduced quickly against his co-star Julia Roberts, their witty banter designating Duplicity's tone. Within minutes into this film sides are being changed and what was seen on screen is not truly what was shown. Each character, seen as a master spy, opens doors to a smooth understanding of their personal themes. At this point a beautiful twist of convoluted appreciation waves ever so gently over originality.

Against tradition, the title screen is blessed with Paul Giamatti entangled in an odd slow motion conflict with Tom Wilkinson. It is from here Director Tony Gilroy turns this movie into an art-film of attempt. Being its main writer may have brought Duplicity down a notch or three. Random plot changes happen constantly throughout its story. Bringing you back and forth from points of interest to “explanations” of where or why each character is doing whatever it is they are doing. Gilroy, who's directorial debut was Michael Clayton (a movie of praise), brings him to the helm of his second film which seemed more of a learning experience than a successful adaptation of cinema. An obvious scriptwriter, Gilroy mixed his visionary skill with generic placement of character direction, collapsing written brilliance with bland angles and weird scene changes. All points of interest just fell short of innovative direction.

For a caper/romance flick, any chemistry found was with Paul Giamatti and Tom Wilkinson, both an actor's actor. They didn't even share much screen time with one another, however they did have the most connection plot wise. In contrast Owen/Roberts relationship just seemed struggled. Owen, pushing Duplicity a little further, was forced to work in conjunction with a much more tired version of a long forgotten Pretty Woman.

As if controlled by a broken clock Duplicity was driven slowly... very slowly, to familiar areas of movies already made. Their was so much hope for a film of this style as story was well designed but clearly not executed. Taking over two hours for a resolve, it became apparent Duplicity's ending was truly not worth waiting for. Yes, in its defenses, the ending was cute, but for a complete lackluster presentation this was no event.

Take your chances with this movie, if you enjoy Clive Owen, or Paul Giamatti, this may be a film for you. Action-less and void of emotion, this is a wonderful skip of a movie.

~ Thomas J Bellezza