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Chris Rock and Martin Lawrence Finds Laughs at a Funeral

Thursday, April 15th, 2010

Death at A Funeral
Chris Rock and Martin Lawrence star in Deat at a Funeral

Three years ago, a darkly funny British comedy called Death At A Funeral crept into Los Angeles. It went virtually unnoticed – but not by comic Chris Rock.

Intrigued by the title, he went to see this bizarre frolic about the death of a family patriarch and the chaos that ensues on the day of his funeral.

“I saw it at an art house,” Rock remembers. “I saw it at a little theatre with, like, 10 people. To me, I said: ‘This is like a pop movie. Why is it playing at a little art house?’ Me and the other 10 people were laughing our asses off. It was amazing.”

That day, the seed was planted for transporting this gruesomely funny English comedy of manners to Pasadena, Calif., and for hiring an A-list black cast (Chris Rock, Martin Lawrence, Tracy Morgan, Danny Glover, Zoe Saldana) as well as such leading white actors as Luke Wilson, James Marsden and the diminutive Peter Dinklage to rework the property for North American audiences.

This must be one of the quickest remakes in history. A movie released in 2007 gets a new version only three years later. But Rock, who is a producer and an uncredited scriptwriter on the film opening Friday, saw no need to wait. Neither did Clinton Culpepper, the canny boss of Screen Gems, the Sony division with a track record for scoring big box-office returns out of low-budget projects.

“I just thought the jokes would work in America,” Rock told a news conference Sunday. He also saw the potential for a great ensemble piece. “We’re not doing a lot of one-guy comedy right now. A lot of things are collaborations . . . Date Night . . . The Hangover. So I thought the fact that it had a lot of funny parts was perfect for me, knowing I wouldn’t have to carry the whole movie, and also perfect as something the studio would really be into. So I thought it would work that way.”

Britain’s Dean Craig, who wrote the screenplay for the original film, retains the formal writer’s credits on the new one, although Rock and Aleysha Carr (Everybody Hates Chris) adapted his script. In giving his blessing to the remake, Screen Gems’ Culpepper insisted that one line of dialogue be pivotal.

It’s the one that Rock, in the role of the deceased’s beleaguered son, delivers to Martin Lawrence, who plays his brother, an acclaimed and somewhat pompous novelist obsessed with his racial heritage. The speech goes this way: “Let me get this straight: Our father was romantically involved with a guy that could fit in his pocket, and you’re mad that he was white?”

Both Culpepper and Rock say this hilarious line defines the cheeky essence of Death At A Funeral, a comedy that revels in busting taboos. It seems the deceased parent, a pillar of Pasadena’s black community, had a secret life – a gay relationship with a white dwarf (Peter Dinklage, re-enacting the same role he played in the British version) who has shown up for the funeral demanding his share of the inheritance.

The very memory of this speech starts Rock laughing again as he chats with reporters. But he’s right – the line provides as good an explanation as any for the fact that the Motion Picture Association of America has slammed an R rating on it in the United States.

Making fun of death and mourning and embalmed corpses tumbling out of caskets is only the beginning when it comes to spoofing the ritual of the funeral, and baring emotional travails run rampant. The MPAA censors also had to pass judgment on the scenes where James Martin, a future white in-law, gets high on a hallucinogenic drug and spends most of the movie naked. Or a scatological sequence in which Tracy Morgan finds himself in the firing line of Danny Glover’s bowel movements.

But Rock turns out to be unhappy with that Restricted rating. Would you believe that he sees Death At A Funeral as family entertainment?

“I think we’ve made an American family comedy – despite the R (rating), a movie you can see with your whole family. It’s a movie for absolutely everybody; that’s what I think. It’s got a big great cast – black, white. All the black people that aren’t in a Tyler Perry movie right now, are in this movie. If you like it, please spread the word.”

Rock clearly doesn’t want Death At A Funeral to be ghettoized and perceived as a film for black audiences. He points to its white cast members and to the fact that the film takes interracial relationships for granted, and to the hiring of a white director in Neil LaBute, a controversial filmmaker whose early successes (In the Company of Men, Your Friends & Neighbors) triggered attacks from feminist groups.

In fact, he doesn’t much like being tagged as a black comedian these days.

“Is there ‘black’ comedy?” he asks. “There’s comedy that ‘black’ people do – and, to me, it’s all just comedy, to tell you the truth. There’s Richard (Pryor)and Eddie (Murphy)and (Bill)Cosby . . . I consider myself in the same line, but I’m also the descendant of George Carlin and Rodney Dangerfield and all those guys. So I just mix it up. When I was a kid, we didn’t think that Rodney Dangerfield was a funny white guy. We just thought he was a funny guy.”

But there’s also pride in the impact of black comedians on a wider culture – an impact not always fully acknowledged. He cites himself and co-stars Martin Lawrence and Tracy Morgan.

“Me, Martin and Tracy – can you name three white comedians that more white people would come and see? If I said no black people could come and see me next week in L.A., I would still sell more tickets. So I just consider myself a comedian. . . . You know what I mean? I’ve seen Martin Lawrence play for thousands and thousands of white people.”

These days, Rock’s own world embraces far more than standup. Last year, Good Hair, his fascinating documentary about the African-American hair industry won the Special Jury Prize at the Sundance Film Festival. His first book, Rock This, made the New York Times bestseller list. And currently, he’s involved in another remake – this time, rewriting Kurosawa’s Japanese classic, High And Low, for director Mike Nichols.

He has submerged himself in every aspect of the filmmaking process, and has reached some firm conclusions about both the hazards and rewards of doing remakes.

“When you know that a movie’s ending works, your life’s so much easier. . . . I’ve remade a few movies, and they all have one thing in common: great endings. . . . If you haven’t a great ending, don’t remake the movie.”

Still, speaking of funerals, how would Rock like his own to play out?

“I’d want all the living presidents there. I’d want them all to be in shorts, too . . . with the Stanley Cup somewhere around . . . . Jay-Z to rap the eulogy.”

© Copyright (c) Canwest News Service

Evil children subgenre can chill moviegoers

Thursday, July 23rd, 2009

Evil kids: Can’t live with ‘em, can’t kill ‘em.

Well, actually, you can. Unless they kill you first.

Ever since Patty McCormack’s sickeningly sweet murderess Rhoda Penmark in “The Bad Seed” in the mid-’50s, the horror movie subgenre featuring inherently wicked children has been scaring people no matter their age.

Now along comes “Orphan,” starring Isabelle Fuhrman as Esther, who would be a formidable foe for Damien from “The Omen” movies, those shiny-eyed towheads from “Village of the Damned” or glowering little Billy from “The Twilight Zone,” who controls everyone with his telepathic wishes.

Esther comes across as the near perfect child, with her politeness, painting and piano playing — until she smashes a bird’s head with a rock and forces a nun to drive off a snowy road, just for starters.

The most recent film in the Harry Potter series, “Harry Potter and the Half-Blood Prince,” invokes the evil-child theme as well. It features flashbacks to the childhood of young Tom Riddle, who would go on to become the dark Lord Voldemort; even when Tom was a student at Hogwarts, it was obvious to his professors that he was powerful in a potentially dangerous way.

Evil-kid movies are revered enough that they’ve received the highest form of flattery: being sent up by other movies and TV shows, including “The Simpsons.” And “Family Guy” offers up a regular character: matricidal little Stewie, who wanted to kill Lois for the longest time.

Besides their imitators, such films have their antecedents as well, Seton Hall University film professor Christopher Sharrett points out. All of them build on the “increasing disbelief in the idea of innocence,” he says.

“You see the idea in `Angels with Dirty Faces,’ the Dead End Kids, and in the postwar years, the teenpic or `juvenile delinquent’ film of the Cold War that poses the teenager as internal threat to adult values,” Sharrett explains.

Wheeler Winston Dixon, a University of Nebraska film professor who’s written about evil children in film, says the enduring appeal of demon children in horror films is the fear of the unknown.

“Children are seen as `blank slates’ to a degree, and also as essentially `unknowable,’ because they live in a world very different from the adult world, in which fantasy and reality intermingle,” he says. “Parents wonder what their children will become, and while they wish the best for them, they often feel as if they have no control over them. It is this essential lack of knowledge, and the fear that the children have a secret world which adults can’t enter, which drives our fear of childhood as a separate domain.”

Josh Heuman of Texas A&M University suggests that the movies play “on the dirty little secret that kids aren’t sweet and innocent, and the anxiety that it provokes.”

“They’re little monsters, and not necessarily in the affectionate sense,” Heuman says. “I’m thinking of my wonderful 2-year-old’s outlandish force of will, and then the `It’s a Good Life’ episode of `The Twilight Zone.’ Billy is hyperbole, but not unrealism or irony!”

Yes, even in real life, the little dickens can frighten you.

Dixon notes that Rhoda in “The Bad Seed” was the first mainstream demon child, but the trope really took off with the 1960 British science fiction film “Village of the Damned” and the sequel “Children of the Damned,” in which a mysterious force impregnates all the women villagers simultaneously.

“They simply want to dominate adults, and destroy them if they thwart their plans,” he says. “In a way, this can be seen as a reaction to the nascent rise of juvenile delinquency in the late 1950s — when American youth culture was first firmly established, along with the rise of rock ‘n’ roll, as a perceived threat to then normative postwar values.”

Children were easier to control before the advent of television, which exposed them to “the secret playbook of the adult world,” says Glenn Sparks, a professor of communication at Purdue University, citing a 1986 analysis by Joshua Meyrowitz in the book “No Sense of Place.”

Before television, society was relatively well-defined by widely shared social boundaries, Meyrowitz argued. But when TV took hold in the 1950s, one of the medium’s most profound effects was to break down those well-established boundaries.

The playbook was no longer effective.

“Orphan” screenwriter David Leslie Johnson says he loved the evil-child horror subgenre ever since he saw “The Bad Seed” — which did seem like a revelation in the mid-20th century.

“If you look at the other movies that were coming out at that time, it’s like the movie came from outer space. There was nothing out there like it.”

And it was so horrifying, that the filmmakers — forced somewhat by the Hollywood code that crime should never pay — gave it a deus ex machina ending so Rhoda doesn’t get away with murder. (In the original book and Broadway play, she does.) To further reassure the audience, they even went so far as to break down the fourth wall with the closing credits with a spanking played for laughs.

In many of these films, the father is absent or bamboozled by his precious prince or princess; it’s left to the mother to come to the slow, horrifying realization about her offspring.

Orphan” is similar: Vera Farmiga’s character — troubled by alcoholism, a miscarriage and guilt over the near death of her deaf daughter — figures out there’s something wrong with Esther. Peter Sarsgaard as the father doubts his wife because of her past unreliability and is quite taken in by his newly adopted child. (Even before its release, “Orphan” has provoked anger from adoption advocates.)

“There’s just something really primal in that mother-child relationship,” Johnson says, “so I felt like that was really the best relationship to exploit and corrupt, to take what should be the most natural bond in the world and turn them into enemies.”

Maria Pramaggiore, a professor of film studies at North Carolina State University, has an explanation. Invoking “Rosemary’s Baby,” and the “Alien” franchise, she says: “In our culture, women in films are sexual or maternal. I wish we had moved beyond this dichotomy, but I can’t say we have.”

And then, Pramaggiore says, there’s the “child as replica issue.”

“They are born having inherited things from others and yet they are their own people,” she says.

Johnson can relate to Pramaggiore’s point. The screenwriter’s wife is pregnant with their first child, and he’s reading various books to prepare. The tomes impart a sense of mortality, he says, adding:

“It’s a little bit of `Body Snatchers.’ They look somewhat like you and even act a bit like you and eventually, they come to replace you.”

New Movie Releases: July 17, 2009

Friday, July 17th, 2009

Only one movie being released this Friday, July 17th.

500 Days of Summer

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The film tells the story of the relationship between a woman, Summer (Zooey Deschanel), who doesn’t believe in true love and a man, Tom (Joseph Gordon-Levitt), described as a hopeless romantic,[4] who falls in love with her. Over a span of 500 days, the story moves in a non-linear fashion from the perspective of Tom, who goes from ecstatic giddiness one moment, indulging in a fantasy song and dance sequence at one point, to crippling depression the next. It features two songs (“Us” and “Hero”) by Regina Spektor, and “Sweet Disposition” by Melbourne-based band The Temper Trap.

Cast: Joseph Gordon-Levitt, Zooey Deschanel, Geoffrey Arend, Chloe Moretz, Matthew Gray Gubler, Clark Gregg, Rachel Boston, Minka Kelly; Directed By: Marc Webb

Watch trailers and clip:

Movie Review: Harry Potter and the Half-Blood Prince

Wednesday, July 15th, 2009

Harry Potter and te Half Blood Prince DS 1 Sheet Movie Poster - Style A

Harry Potter and the Half-Blood Prince arrive in theaters, July 15 and you can read the review below.

There are two faces to the story of Harry Potter. The first is that of a young boy forced into the wondrous and oftentimes dark world of wizardry in order to destroy the evil Lord Voldevort who had long-ago murdered his parents. This is the face that bears the saga’s many adventures – magical tournaments and enchanted creatures, harrowing broomstick battles and spells exchanged like gunfire. It is also the face of mystery and intrigue – of secret sects both light and dark, of ministries of magic and old vendettas made new. Then there is the second face – the one of a boy growing slowly and awkwardly into manhood with friends who will prove to be the greatest of his life. It is the face of a boy becoming aware of his abilities and weaknesses, developing a passion for Potions or sports, discovering confidence and virtue, romance and responsibility. It is a face we’ve all worn, and while those of us who’ve followed Harry Potter on his seven-story adventure might never know the joys of conjuring a Patronus or casting some spectacular spell, we’ve all known the joyous — and occasionally painful — experience of growing up.

Harry Potter and the Half-Blood Prince knows this, too…

The sixth film in the franchise, Half-Blood Prince finds Harry thrust into a world that has finally, and stubbornly, accepted the return of Voldemort, a world in which Voldemort himself has doubled the efforts of his minions to rid Hogwarts of his many enemies there. The danger, as it does from book to book and film to film, has increased exponentially, and the secret to defeating this constant threat may just exist in a forgotten memory. Tasked by Dumbledore, Harry must befriend the newest addition to the Hogwarts staff, Professor Slughorn, and retrieve this long-lost recollection about a pivotal moment shared with a young Tom Riddle, then a student at the school. A recollection which will, believes Dumbledore, offer the key to the Dark Lord’s ultimate plan. Meanwhile, Snape’s suspicious activities, Draco’s scheming and frequent attacks by Bellatrix and her fellow Death Eaters all point to the inevitable final confrontation which many of you, no doubt, have experienced in the seventh and final book.

Harry Potter Photo 1

But if Half-Blood Prince is really about anything, it’s about that singular turning point into adulthood. It’s about the year in which Harry, Ron and Hermione discover romance as something to be embraced rather than embarrassed by…It’s the year in which each character finally seems to come into their own, and after two films heavy in plot and effects-laden action, we’re offered a portion of the story devoted to the development of the characters we’ve truly grown to love. It’s a testament to the brilliant balance of tones struck by director David Yates that the movie is able to shift between dark, somber moments in which characters must ultimately decide their loyalties and lighthearted, carefree exchanges between boys who are, much to their own chagrin, desperately in love with girls.

Yates is aided substantially by a set of actors whose performances continue to get better with each film, as well as a script that brings some of the more supporting characters to the forefront for a refreshing change of dynamics. The re-emergence of Draco and Ginny Weasley underscores both sides of the Harry Potter coin, forwarding the plot while demanding that Harry develop further as a character, never growing stagnant, both confronting enemies and admitting his growing affections. Ron’s interplay with Hermione in the film is also quite moving, allowing for equal instances of comedy and drama. And lastly, Jim Broadbent’s turn as the absent-minded, socialite Professor Slughorn is perhaps the best of the cameos we’ve seen to date – creating an immensely likeable and sympathetic character out of material that might easily have been more disagreeable in less capable hands.

Harry Potter 6 Photo 2

The film’s only real weakness is one inherent to the series itself – that in trying to fill a school-year’s worth of time, most of what occurs in the movie simply feels like filler for the final few minutes. The “Thing That Happens at the End” – an event which we surely won’t spoil for you here – is, in a real sense, the only thing that actually happens, at least in as much as it relates to the continuing story of Harry’s battle against Voldemort. The events of Order of the Phoenix feel almost inconsequential here – just as the tournament in Goblet of Fire felt like something to puff up the page-count before Voldemort could re-appear in the final sequence. Thankfully, the character work is so finely developed in this outing that each of those concerns is quite easily forgiven amidst all the first-rate performances and overall impressive filmmaking. Readers should note, however, that the film cuts down substantially on the Voldemort flashbacks and never does explain the significance of the “Half-Blood Prince” — an odd omission, considering the title — but this is never to the detriment of the film itself.

That said, Harry Potter and the Half-Blood Prince is a refreshing change of pace from the dynamic set pieces and wizarding intrigue of the last two films, offering up a heartfelt and surprisingly character-driven chapter in the epic saga of Harry vs. Voldemort. It is without a doubt among the very best in the cinematic series thusfar, second perhaps only to Azkaban, which to this critic offered the most skillful and well-executed balance of narrative and character, of momentum and pause, with never a beat of action too far from some honest and human exchange. Half-Blood Prince is a shockingly intimate film, propelled forward by its engaging characters into a few scattered moments of magical mayhem, yet never bores and never slows despite its insistence on following our heroes into their rapidly-approaching adulthood. It is, in a sense, the breath before the battle, setting up viewers for the epic confrontation to come – a battle so dark and so expansive that it’ll take two films to tell the entire story – and if the finale is conjured with all the drama and heart of this chapter, surely any reason to linger at Hogwarts a little longer will leave audiences shouting, “Abracadabra.”

The Time Traveler’s Wife

Sunday, July 12th, 2009

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Release date: Friday August 14, 2009
Genre: Sci-Fi, Adventure, Drama
Director: Robert Schwentke
Studio: Alliance Films
Screenplay: Bruce Joel Rubin
Producer(s): Dede Gardner, Nick Wechsler
Cast: Rachel McAdams, Eric Bana, Arliss Howard, Ron Livingston, Jane McLean
Official Site:
Rating: PG-13 for thematic elements, brief disturbing images, nudity and sexuality
Available film art: The Time Traveler’s Wife movie posters

“The Time Traveler’s Wife” is based on the best-selling book about a love that transcends time. Clare (Rachel McAdams) has been in love with Henry (Eric Bana) her entire life. She believes they are destined to be together, even though she never knows when they will be separated: Henry is a time traveler—cursed with a rare genetic anomaly that causes him to live his life on a shifting timeline, skipping back and forth through his lifespan with no control. Despite the fact that Henry’s travels force them apart with no warning, Clare desperately tries to build a life with her one true love.

The Time Traveler’s Wife” was directed by Robert Schwentke (“Flightplan”) from a screenplay by Academy Award® winner Bruce Joel Rubin (“Ghost”), based on the novel by Audrey Niffenegger. Nick Wechsler and Dede Gardner produced the film, with Brad Pitt, Richard Brener, Michele Weiss and Justis Greene serving as executive producers. The co-producer is Kristin Hahn.

Heading the film’s cast as Clare and Henry are Rachel McAdams (“Red Eye,” “The Notebook”) and Eric Bana (“Star Trek,” “Munich”). “The Time Traveler’s Wife” also stars Arliss Howard, Ron Livingston and Stephen Tobolowsky.

The behind-the-scenes creative team includes director of photography Florian Ballhaus (“Marley & Me”), production designer Jon Hutman (upcoming “My Sister’s Keeper”), Academy Award®-winning editor Thom Noble (“Witness”) and Academy Award®-nominated costume designer Julie Weiss (“Frida,” “12 Monkeys”). The music is by Mychael Danna (“Lakeview Terrace”).

The Informant

Sunday, July 12th, 2009

The Informat DS 1 Sheet Movie Poster - Advance Style A

Release date: Friday September 18, 2009
Genre: Comedy, Drama
Director: Steven Soderbergh
Studio: Warner Bros. Pictures
Screenplay: Scott Z. Burns
Producer(s): Gregory Jacobs, Howard Braunstein, Jennifer Fox, Kur Eichenwald
Cast: Matt Damon, Scott Bakula, Joel McHale, Melanie Lynskey
Official Site:
Rating: R for language
Available film art: The Informant movie posters

What was Mark Whitacre thinking? A rising star at agri-industry giant Archer Daniels Midland (ADM), Whitacre suddenly turns whistleblower. Even as he exposes his company’s multi-national price-fixing conspiracy to the FBI, Whitacre envisions himself being hailed as a hero of the common man and handed a promotion. But before all that can happen, the FBI needs evidence, so Whitacre eagerly agrees to wear a wire and carry a hidden tape recorder in his briefcase, imagining himself as a kind of de facto secret agent. Unfortunately for the FBI, their lead witness hasn’t been quite so forthcoming about helping himself to the corporate coffers. Whitacre’s ever-changing account frustrates the agents and threatens the case against ADM as it becomes almost impossible to decipher what is real and what is the product of Whitacre’s rambling imagination. Based on the true story of the highest-ranking corporate whistleblower in U.S. history.

The Stepfather

Sunday, July 12th, 2009

The Stepfather DS 1 Sheet Movie Poster - Style A

Release date: Friday October 16, 2009
Genre: Horror
Director: Nelson McCormick
Studio: Columbia Pictures, Screen Gems (Sony
Screenplay: J. S. Cardone
Producer(s): Greg Mooradian, Mark Morgan
Cast: Dylan Walsh, Sela Ward, Penn Badgley, Amber Heard, Jon Tenney
Official Site:
Rating: PG-13 for intense sequences of violence, disturbing images, mature thematic material and brief sensuality
Available film art: The Stepfather movie posters

Dylan Walsh stars as David Harris, very much a “family values” man who mysteriously comes into the lives of single mothers with children and becomes the dream man they always wanted. When he woos Susan Harding (Sela Ward) and eventually moves in with her family, her teenage son Michael (Penn Bagdley) begins to suspect that David is not quite the dream man he pretends to be. Along with his girlfriend Kelly (Amber Heard) and Susan’s friends (Paige Turco and Sherry Stringfield) they slowly start to piece together the mystery of the man who is set to become their stepfather, but they may be too late in getting to the truth.

Movie Releases: July 10, 2009

Thursday, July 9th, 2009

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Sacha Baron Cohen (Borat) is back and this time, he is playing a fictional gay Austrian fashion reporter, named Brüno. Brüno (also written as Bruno) is the only film opening in wide-release this weekend.

In 2006, two-time BAFTA-winning performer SACHA BARON COHEN brought Kazakh journalist Borat Sagdiyev to the big screen in Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan. Exposing shocking hypocrisies of Western culture, Baron Cohen, director LARRY CHARLES and their crew used guerrilla-style filmmaking to create a worldwide comedy event that took audiences and critics by storm. The film led to Baron Cohen’s win of a Golden Globe for Best Performance by an Actor in a Motion Picture—Musical or Comedy and shared Oscar® nomination for Best Writing, Adapted Screenplay. By allowing audiences to laugh and cringe at ridiculous prejudices, the team engineered a breakout hit that earned more than $260 million at the global box-office and set a new standard of risky provocation.

They were just getting started.

Now, the creator, star, writer and producer of Borat and Da Ali G Show has created the gutsiest, craziest and most dangerous comedy to be released in mainstream theaters. In Brüno, Baron Cohen introduces moviegoers to the next character from his award-winning series: a gay fashionista who is the host of the top-rated late night fashion show in any German-speaking country…apart from Germany.

Brüno’s mission? To become the biggest Austrian celebrity since Hitler. His strategy? To crisscross the globe in the hopes of finding fame and love.

New DVD Releases: July 7, 2009

Tuesday, July 7th, 2009


Knowing DS 1 Sheet Movie Poster - Style A

Nicolas Cage stars in “Knowing”, a gripping action-thriller of global proportions about a professor who stumbles on terrifying predictions about the future—and sets out to prevent them from coming true.

In 1958, as part of the dedication ceremony for a new elementary school, a group of students is asked to draw pictures to be stored in a time capsule. But one mysterious girl fills her sheet of paper with rows of apparently random numbers instead.

Fifty years later, a new generation of students examines the capsule’s contents and the girl’s cryptic message ends up in the hands of young Caleb Koestler. But it is Caleb’s father, professor John Koestler (Nicolas Cage), who makes the startling discovery that the encoded message predicts with pinpoint accuracy the dates, death tolls and coordinates of every major disaster of the past 50 years. As John further unravels the document’s chilling secrets, he realizes the document foretells three additional events—the last of which hints at destruction on a global scale and seems to somehow involve John and his son. When John’s attempts to alert the authorities fall on deaf ears, he takes it upon himself to try to prevent more destruction from taking place.

With the reluctant help of Diana Wayland (Rose Byrne) and Abby Wayland, the daughter and granddaughter of the now-deceased author of the prophecies, John’s increasingly desperate efforts take him on a heart-pounding race against time until he finds himself facing the ultimate disaster—and the ultimate sacrifice.


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A riveting action-thriller, “Push” burrows deep into the deadly world of psychic espionage where artificially enhanced paranormal operatives have the ability to move objects with their minds, see the future, create new realities and kill without ever touching their victims. Against this setting, a young man and a teenage girl take on a clandestine agency in a race against time that will determine the future of civilization.

The Division, a shadowy government agency, is genetically transforming citizens into an army of psychic warriors—and brutally disposing of those unwilling to participate. Nick Gant (Chris Evans), a second-generation telekinetic or “mover,” has been in hiding since the Division murdered his father more than a decade earlier. He has found sanctuary in densely populated Hong Kong—the last safe place on earth for fugitive psychics like him—but only if he can keep his gift a secret.

Nick is forced out of hiding when Cassie Holmes (Dakota Fanning), a 13-year-old clairvoyant or “watcher,” seeks his help in finding Kira, (Camilla Belle), an escaped “pusher” who may hold the key to ending the Division’s program. Pushers possess the most dangerous of all psychic powers: the ability to influence others’ actions by implanting thoughts in their minds. But Cassie’s presence soon attracts the attention of the Division’s human bloodhounds, forcing Nick and Cassie to flee for their lives.

With the help of a team of rogue psychics, the unlikely duo traverses the seedy underbelly of the city, trying to stay one step ahead of the authorities as they search for Kira. But they find themselves square in the crosshairs of Division Agent Henry Carver (Djimon Hounsou), a pusher who will stop at nothing to keep them from achieving their goal.

The Unborn (2009)

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Casey Beldon (Odette Yustman) is plagued by nightmare visions of strange looking dogs, and an evil child with bright blue eyes.

While baby-sitting Matty, her neighbor’s son, he attacks her with a mirror. After being hit with the mirror, Casey’s eyes begin to change color, an optician explains that she is experiencing Tetragametic chimerism and Heterochromia. After questioning her father she learns she had a twin brother who died in the womb. Casey begins to suspect that the spirit haunting her is the soul of her dead twin, being possessed by a dybbuk, wanting to be born so it can transfer to the world of the living.

Casey meets a woman named Sofi, who is revealed to be her grandmother. Sofi explains that she had a twin brother who was killed in Nazi experiments in Auschwitz when they were both just children (presumably having been experimented on by Josef Mengele, as Sofi describes him as looking like an angel and Mengele was often referred to as the Angel of Death). The boy was brought back to life by a dybbuk who intended to use his body as a portal into the world of the living. Sofi killed her twin to stop the dybbuk, and now it haunts her family for revenge. Sofi refers Casey to Rabbi Sendak (Gary Oldman), who can perform a Jewish exorcism to remove the dybbuk.

The exorcism is performed, but things go awry as the dybbuk tries to stop Rabbi Sendak from completing the ritual. Several people are wounded and others are killed. The exorcism is finally completed, and the dybbuk is drawn back from the human world. Casey’s boyfriend Mark is severely wounded and later dies with Casey by his side. Casey mourns him and she soon finds out that she is pregnant by him, with twins.

Flicka Movie Posters

Sunday, October 15th, 2006


Flicka will be in theaters, October 20th and you get the movie posters here at All Movie Replicas.

Synopsis: A young girl, Katy, adopts a wild mustang she names Flicka, only to see her father sell her now beloved companion. To win back Flicka’s freedom, Katy secretly schemes to enter a dangerous wild horse race.

Cast: Maria Bello, Alison Lohman, Tim Mcgraw, David Burton, Sierra Doherty Gillin, Kaylee DeFer; Directed by: Michael Mayer

Click on the link below to purchase your Flicka movie posters now:

Flicka movie posters

View the trailer

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