Sicko is Michael Moore’s best documentary to date. Read on:

Plenty of discussion has already been devoted to Michael Moore’s new film Sicko from its champions and detractors — and curiously, much of this material (on both sides) is positive. Has Moore, the rabblerousing filmmaker responsible for the 2004 pre-election Bush critique Fahrenheit 9/11, finally targeted a subject that will bring the left and right together in the spirit of compassion and solidarity? Don’t bet on it.

These days it’s going to take more than a movie about hemorrhaging American health care to make people feel better. When even summer movies like Spider-Man 3 and Pirates of the Caribbean: At World’s End divide folks who would sooner saw off an appendage than miss an opening-night screening of their favorite franchise’s latest installment, Moore of all people is not going to be the guy who unifies the American public.

But this may in fact be the exact reason why everyone, yes everyone, should see Sicko: Love it or hate it, agree or disagree, the film might be the best conversation-starter of the year. (Yes, counting that whole “Staying Alive” dance sequence in Spider-Man 3.) In fact, its purpose is already realized before audiences even step into a theater; the very fact that Moore made a new movie — and further, that Sicko exists — means that people will be discussing all sorts of things that we typically forget or take for granted.

On its surface, the film examines the current state of our health care system, and predictably enough, the portrait isn’t pretty. Even people who have health care function at the mercy of cost-cutting HMOs, but those who don’t are charged exorbitant fees or otherwise left without recourse when they are sick or injured. But unlike in his previous films where the filmmaker interjected himself into the story with flashy stunts or distracting theatrics, Moore keeps a generally lower profile here, appearing on camera only occasionally and less in the service of being court jester/devil’s advocate than dumbstruck average joe.

Click on the link below to read the entire interview:

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Ratatouille is an ‘unique experience that strikes deep notes’. Read on:

It would be an overstatement to say that Ratatouille is something of a love letter to critics. But given the review-friendly pedigree of director Brad Bird, it’s not hard to imagine he is trying with Pixar’s latest film to pay subtle tribute to the folks who supported him when studios and audiences didn’t. Bird, who worked on lauded but viewer-deficient projects like The Critic and The Iron Giant, has since made good both creatively and commercially with the aptly-titled The Incredibles, and here celebrates all that is essential to artistic expression: freedom, enthusiasm and — of course — encouragement.

Much like its predecessor, Ratatouille has behind it the marketing muscle of the all-powerful Pixar, not to mention their own collection of four-star reviews and awards. But regardless of its size, its context or its commercial potential, Ratatouille is a triumph that not only pays tribute to the spirit of discovery, but revels in the fun of making a few of its own.

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(L-R) RUPERT GRINT as Ron Weasley, EVANNA LYNCH as Luna Lovegood, MATTHEW LEWIS as Neville Longbottom, EMMA WATSON as Hermione Granger, DANIEL RADCLIFFE as Harry Potter and BONNIE WRIGHT as Ginny Weasley

Steve Horn over at IGN.com interviews Rupert Grint (Harry Potter). Read on: Daniel Radcliffe was only 10-years-old when he first stepped into the shoes of the boy wizard Harry Potter. Now, as the fifth film, Harry Potter and the Order of the Phoenix, approaches so too does adulthood for Radcliffe and his co-stars Emma Watson and Rupert Grint. IGN.com was among a set of journalists invited to the Leavesden Studio sets to chat with the cast and crew, tour sets, and watch filming take place. We caught up with Dan for a few minutes in a field, moments after he had filmed a sequence just after the decision had been made to form Dumbledore’s Army, a student group Potter ends up leading.

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These movies open in theatres: Friday, June 29, 2007. Just click on the links to purchase the movie posters:

• Live Free or Die Hard - (Action) Cast: Bruce Willis, Timothy Olyphant, Maggie Q, Justin Long, Jeffrey Wright, Mary Elizabeth Winstead; Directed by: Len Wiseman:

Click Here to view the trailer and a special interview with Bruce Willis

• Ratatouille – (Animation) Cast: Patton Oswalt, Ian Holm, Lou Romano, Brian Dennehy, Peter O’Toole, Brad Garrett, Janeane Garofalo, Will Arnett; Directed by: Brad Bird

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• Death at a Funeral (Comedy) Cast: Matthew MacFadyen, Rupert Graves, Alan Tudyk, Daisy Donovan, Kris Marshall, Andy Nyman, Jane Asher, Keeley Hawes, Peter Vaughan, Ewen Bremner, Peter Dinklage, Thomas Wheatley, Peter Egan; Directed by: Frank Oz

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• Sicko (Documentary) Cast: Michael Moore; Directed by: Michael Moore

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Synopsis:
Michael Moore sets out to critique America’s healthcare system.

Sticking to his tried-and-true one-man approach, Moore sheds light on the complicated medical affairs of individuals and local communities.

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In Theatres: June 29, 2007

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Synopsis:
The Sun is dying, and mankind is dying with it. Our last hope: a spaceship and a crew of eight men and women. They carry a device which will breathe new life into the star. But deep into their voyage, out of radio contact with Earth, their mission is starting to unravel. Soon the crew are fighting not only for their lives, but their sanity.

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In Theatres: July 20, 2007

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Synopsis:
Renowned horror novelist Mike Enslin (John Cusack) only believes what he can see with his own two eyes. After a string of bestsellers discrediting paranormal events in the most infamous houses and graveyards around the world, he scoffs at the concept of an afterlife. Enslin’s phantom-free run of long and lonely nights is about to change forever when he checks into suite 1408 of the notorious Dolphin Hotel for his latest project, “Ten Nights in Haunted Hotel Rooms.”

Defying the warnings of the hotel manager (Samuel L. Jackson), the author is the first person in years to stay in the reputedly haunted room. Another bestseller may be imminent, but Enslin must go from skeptic to true believer—and ultimately survive the night.

Based on short story by Stephen King.

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In theaters: Now

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We found this video of Sam Raimi (on IGN.com) discussing the plans for Spider-man 4. Read on:

As Spider-Man 3 crawls out of theaters after its blockbuster run, director Sam Raimi is finally speaking more candidly about what he’d like to see happen in Spider-Man 4 and whether he will direct it.

When asked by MTV.com if he’d return to the director’s chair for the fourth installment, Raimi said, “If I can’t find the right story that would work for me and that I could tell really well, I would like someone else to tell that story. … But if it’s a great story and Sony will bring me back to the screen, I would love to.”

So who would he like to have battle Spidey next time around? “I would love to see Electro, Vulture, maybe the Sinister Six as a team. … But [Spider-Man 4] will probably have to start with the central journey of the main character to arrive at the proper villain.”

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We found this preview for Saw IV; the next scheduled release in the Saw franchise. Read on:

Surely by now the Saw franchise needs no introduction to most of IGN’s readers. The first picture in this horror series came in 2004, made by a pair of then Australian unknowns (director James Wan and scripter Leigh Whannell), and its huge success is often credited with having helped to launch the current “torture horror” movement. Studio Lionsgate has since followed with a sequel each year, with Darren Lynn Bousman taking over the director’s chair. (Some spoilers might follow, so consider yourselves warned.)

Saw IV is next for the series, scheduled for a Halloween 2007 release, with Bousman back as director. IGN recently caught up with the helmer, producer Oren Koules, and the series’ star killer, Jigsaw himself, Tobin Bell, to discuss the new film. The first topic that came up during our chat was the notion that four movies in four years seems like a real grind, but as Bousman sees it, the filmmakers are only serving a larger game plan.

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Angelina Jolie has given her best perforrmance to date in A Mighty Heart. Read on:

Despite its TV-movie-of-the-week title, A Mighty Heart is a compelling docudrama in the vein of Paul Greengrass’ United 93: a chronicle of actual events that we kind of know about, but are only now experiencing first-hand… appropriately in cinematic terms. Like Greengrass, director Michael Winterbottom favors handheld cameras and a more immediate approach to documenting his subject, but more than that, the two share a European (or at least non-American) sensibility that lends a greater degree of objectivity and, by extension, a greater universality to the story.

And while it may seem like poor encouragement to compare this to the best movie people were afraid to see in 2006, suffice it to say that A Mighty Heart should be significantly easier for audiences to endure, even if its story is just as powerful.

Told through the eyes of Mariane Pearl, A Mighty Heart documents the kidnapping of Daniel Pearl and the authorities’ (and his family’s) subsequent efforts to save his life. Angelina Jolie plays the very pregnant Mariane opposite Dan Futterman’s Daniel; true to her account of the events, most of the film is from her point of view, with only a few early scenes and flashbacks showing their interaction. This proves to be one of the movie’s strengths, as it refrains from dramatizing Pearl’s torture to either speculate what happened to him or to push unnecessary dramatic buttons.

Click on the link below to read the entire review:

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