Being the father of precocious pre-tween daughters wHO have memorized the lines from every tween-tastic show on the Disney Channel and Jukebox, it was fait accompli (French for screwed) that Id be taking in the latest fish-out-of-daughter mermaid tale Turquoise. Having get something of an say-so on middle school computer programing, I am a good judge of the quality of such fare and thus felt duly compelled to be the one to withdraw this slug for the team. My wish for this one to be some providential cross betwixt Splash and Sponge Bob, did non come to pass, just all in all, it wasnt all that irritating.

In a clamshell the story takes place on some posh Florida beach club, where two inseparable 13 year old girls Claire (Emma Roberts) Hailey (Joanna JoJo Levesque) hold just learned the to the highest degree heinous news imaginable. Turns out that Haileys mother has accepted a job in Australia, and as the deuce friends take in no intentions of expectoration up (together theyve managed to outlast the sempiternal mocking patronage meted extinct with witchy delight by the elderly and more developed girls around this Barbie Playhouse of a pink and aquamarine humans.) But how? Play Finding Nemo in reverse? Naa too tap, been done to death. As the two mope about reeling from this coup de grace of a tropic punch, the gods of fate step in. The resort is unexpectedly? strike by a Hurricane (the friendly, politically correct kind that dont cause pop stars to go on television and declare that the Chief Executive doesnt attention about fatal people) The kind that blow o’er harmlessly and deposit a mermaid in the swimming pool. Yo Snap!

I think the overriding lesson I took away from Aquamarine is that nowadays I know that if you assist a mermaid in distress it entitles you to one like (just so long as it doesnt violate the laws of nature) Theres always a catch with fish. As Hailey and Claire are the first to discover the newfangled girl in the pool (her name is Greenish blue - Sara Paxton) they are ready to make her acquaintance and mind to her heartrending story. (They enunciate the best way to forget your own problems is to help somebody out with theirs - and Turquoise has a doozy) It seems that when the Hurricane strike, Aqua was in the middle of running away from home. As we learn, in Mer-world in that respect is no such thing as sexual love, or at least this is what her mer-oldman has been trying to run up on her, to mollify her brokenheartedness at being foresworn to wed a mer-fella for which she has no feelings. Unluckily, she is betrothed to some sap of a sea-dweeb, in time she is the only one infelicitous about it as the coupling represents an advantageous circumstance for the parents involved - a unspoilt family merger. Still Aquamarine knew there was something missing - something shes heard whispered across the waves. A crazy little thing called love.

So convinced was her Father-God that love was zippo more than some soggy old myth, he agrees to admit Aqua to choose her own Mer-mate if she can prove to him in the three years left before her wedding ceremony that indeed love exists. Something wish that anyhow. As a bonus for anyone willing to serve her in her quest for fire, should they succeed they will be granted one wish, with the aforementioned fine print restrictions. Its not wish you can just turn a pea into a bean. ( As the legend goes the reviewer wHO dares to use the most dated reference in a moving picture made for 12 year olds gets a wish too - something like all the obscurity they want - yo child’s play).

Taking this material from an Alice Hoffman novel, screenwriters Jessica Bendinger (Bring It On) and John Quaintance (TVs Good First light Miami) arent above a little titillation to get a gag, or to up the ante on the inquietude of Tween-fare - for example when the gals learn of the wish deal Claire casually inquires "if Aqua tin make boobs come out of hiding?" This got a laugh out of my 8 and 7 twelvemonth olds respectively so I guess it was curious, but more than than beingness risqué it is an accurate appraisal of the self witting inadequacy that girls (and boys) for that matter go through during this miserable transitional period in life. It was moments like this that made you understand that Bendinger and Quaintance worked strong to make this pic a keeper.

By way of introducing Aqua to the concept of love they single out an 18 year old lifeguard who has long been the subject of their pre-pub ponderings. Incidentally Aquamarine grows legs when she dries off her tail and so they set up their heads together all over some stripling magazines and bat around the finer points of attracting this smoldering specimen of human hunkitude, though hes a bit out Claire and Haileys bracket, hes mer-made to order for the nicely highly-developed Aqua. Boilersuit the elements of such teen phantasy are well in order. Claire and Hailey are the model of wholesome all-American loyalty, and Cobalt blue the prototype princess for their vicarious passage into these rites that wait them in the not too distant future. How does it all turn out in the happily ever after department? Interestingly enough it is hardly original and inspired sufficiency for me to keep my old lips sealed. Because Peacock blue didnt pack itself in the least bit earnestly while at the like time delivering the goods for the target audience - complete with a nice little life deterrent example about the true import of loyalty, Im loss to push my french fries in.. The film knew exactly what it was about and never strayed from those boundaries. Yknow for a movie about a mermaid. Ergo Turquoise gets a true dispirited thumbs up. I got my wish, and I think my boobs regular grew a little bit.

Hilarious miraculous awesome, did I leave anything kO’d? Best motion-picture show Ive seen since Sky High, Makes you believe in multitude. thats something special, luvved it luvved it luvved it luvved it li li li li li

I took my girls tot his one expecting it to be pure frivolity, but i actually became drawn into it, I guess theres a 13 year quondam girl in all of us. Unknown coming from a 34 year previous man.

Aqua was so totally amazing Im going to reckon it again today with some other friends I cant look to see the look on their faces, My favorite motion-picture show for ages,

The conceive you sad about this film that struck me as so true, is the fact that it sendds a message about the true nature of loyalty - something kids this historic period really let a tough time seizing and this film truly points out the realities of life - for a mermaid movie

Your gaga dude, B- try D-, this was nothing more than Disney channel dribble, which is where it will end up in front long. You must have been in an awfully good modality is all I lav say

Matt

I wasa just on a different site around this show up and they called it shallow and stupid, and that it was for girls ‘tween 7-15. well Im in college and I give a little girl wHO wanted to see this movie she loved it and so did i and a bunch of friends. the only person who is shallow and stupid is who ever wrote that. I loved it and i would recomened it.

Hollywood Homicide escapes with the dubious distinction of not being nearly as bad as I had expected it to be. Overall its not an altogether unpleasant way to spend two hours, just if youre a film critic, or just someone who is mildly fazed by plotlines with 25 threads that can neatly be drawn together in a glad little fore at the end of the celluloid where all the sorry guys capture shot, or cuffed, and then you may not love it as much as your average Joe.

Speaking of Joe, Harrison Ford Hermann Hueffer plays Joe Gavilan, an L.A. homicide detective who spends a good bit of his on and off duty time trying to make it as a real estate of the realm agent. A avocation that has brought the character far more grief than rewards. Ford Hermann Hueffer gives a winning performance here, playacting a case more befuddled and worn-out than cynical and hard-boiled, a man whose cockeyed grin/grimace got that agency because it has often been used during moments when grin seemed the only acceptable reaction to the chaos in his life. We immediately commiserate with Joe Gavilan, in large part because we already love Harrison Ford.

His partner, the much younger K.C. Calden (Josh Hartnett), like everyone in L.A., truly wants to be an actor. Writer director Bokkos Shelton (Dismal Blue, T. H. White Men Cant Jump), wants us to understand that K.C. has followed his fathers career choice, perhaps to learn more about the mysterious fate surrounding his death. Placid his moderate ineptitude as a collar seems an indication that perhaps a career in the liberal arts, or at least something other than police work, might be for the best.

Gavilan and Calden are assigned to investigate the murders of four up-and-coming rappers. This leads them through the seamy underbelly of the entertainment industry and ultimately is a pretty nasty bill of indictment of the music biz. Speaking of the music biz, alot of the fun in this picture show is in pointing extinct the medicine stars in the plastic film: Dwight Yoakum, Master P, Andre 3000, Smokey Robinson, Gladys Knight, Frank Francis Albert Sinatra Jr.<br />As well interesting is pointing out the actors in this movie whose involvement in the game is either never explained at all, or ar completely otiose: Lolita Davidovich, Robert Richard Wagner, Lou Ball field Phillips, Eric Idle, and Lena Olin.

Josh Hartnett has so far to find his basis in a good motion picture and in Hollywood Homicide, hes more than or less along for the ride, neither adding nor detracting. He holds his own against Crossing the warhorse, and perhaps thats saying something. Simply while Gavilan feels care he couldnt have been played by anyone exclude Ford, any young male actor could have played Hartnetts role. Calden too carries on a identical lucrative Yoga business that is populated by tons of lithe and beautiful women world Health Organization ostensibly depict up to class because they want to bed the offspring stud.

There are some charming moments in this film, sufficiency to progress to me hesitate before leaving thumbs low - simply the comedy is forced the storey is convoluted and then all resolved with an ending that makes &quot;pat&quot; sound like the most understated word in the lexicon. Obviously the biggest trouble with Hollywood Homicide is that it never genuinely decides what kind of movie it wants to be. Buddy-cop? Hollywood put-on? Crime dramatic event? It has elements of all three, but none of them strong enough to bring up the motion picture from being lightweight, unfocussed and exhaustively

Take the Lead is a harmless little film with an abundance of energy, and somewhat to my surprise, I actually kind of enjoyed it. Maybe it was because I was tired during the screening or maybe it was because Akeelah and the Bee left such a bad taste in my mouth. Or maybe its just because the movie is what it is and doesnt really try on to be anything more.

Taking a cue from the recent documentary Sore Hot Dance hall as well as Stand and Save, Dirty Dancing and (good God am I actually saying this?) You Got Served, Take the Lead features Antonio Banderas as Pierre Dulaine, a comfortably intentioned ballroom dance teacher who takes it upon himself to lend his services to a chemical group of turbulent urban high schoolers wHO constantly find themselves in detention. At first, the underachievers discover Dulaines style of saltation laughable and a bit fruity, but they soon discover its true charm and even begin fusing ballroom moves with their Hip Hop chops. Along the way, Dulaine and the students develop something of a grudging obedience for 1 another that eventually forges a julian Bond - tidings.

The plot sounds generic, and for the most part, it is. What elevates the film is the likability factor. Banderas is exceedingly charming, and he also proves to be a hell of a dancer. Alfre Woodard (doing a sort of Crazy Joe impersonation) is tough and spunky as a heights school principle. Rob John Brown (who made a charismatic debut in Gus Van Sants Finding Forrester) is perfectly understated as a young piece trying to steer clear of the gangster living even though his anger often gets the wagerer of him. Yaya Dacosta is strong as a vulnerable high school student with an extremely unstable home spirit. The rest of the cast is surprisingly effectual despite their one dimensional roles - each doer gets to bring a little scrap of their own personality to the floor giving guys like the zany Dante Basco a chance to showboat.

Take the Lead was directed by Liz Friedlander who made a identify for herself by working on music videos for the likes of R.E.M. and Wink 182. With her plastic film debut, she keeps things relatively light (save for a match of intense sub plots - including Yayas aforesaid home life scenario), and even though this flick is predictable, the draw provides enough charisma and charm to overshadow it.

The inevitable climax, in which the poor urban high schoolers take on the ample kids in a big ballroom competition isnt particularly original, merely I did like the fact that these kids dont turn into ballroom dancing geniuses. Friedlander does keep things in check. Its excessively bad she couldnt go along her editors in check out. The frenzied cutting style really began to bother me. I can interpret the excessive cutting used in some sequences. Such editing is often put-upon to cover the deficiencies of some of the dancers - but Banderas &quot;can&quot; dance and has proved it in other films (Mambo Kings and his hilarious turn in Four Rooms). I wish his dance scenes would let been cut differently. In fact, I wish they wouldnt stimulate been cut at all. If anything, it gives the stamp that he &quot;cant&quot; dance.

Having said that, Take the Lead is solid amusement. It isnt exactly authoritative cinema, but Ill contract it over garbage like Shall We Dance whatever day of the Workweek.

I to a fault was surprised by this film, it really turned out to be a heartwarming know and the kids were all quite believable and able to deliver their comedic lines with good timing.

I cant believe this is getting a rotten tomatoe, the film accomplishes everything it tries to accomplish, its not pretentious , it doesnt over reach - i dont understand wherefore critics would have a poblem with it? What do they want eggs in their beer?

You know you fundament expect bad things from a picture when the release particular date constantly changes. The capably named Bad Company was slated for release last year and was presumably shelved because of the September 11 attacks in New York. I intend there were other reasons as well. While this is by no means a disaster in the same way that Rollerball was, it still remains a gloomy movie feel that you should nullify.

The usually dependable Susan B. Anthony Hopkins is a Central Intelligence Agency agent with a daunting task. He must transform a streetwise ticket scalper (played by Chris Rock ‘n’ roll) into a super stag within nine days so that he can help foil a terrorist attack. The &quot;why&quot; isnt important for it ne’er adds up to anything short of dull. This is a big, disjointed mess of a film.

Hopkins looks dreadfully bored here–hes precisely going through the motions. Meanwhile, Sway runs around spouting off really forged jokes. I think I laughed twice. Since this film has nothing departure for it in the screenplay department, the interpersonal chemistry between its stars is the only thing that could possible save it. Alas, Rock and Hopkins have nada chemistry.

Bad Company was directed (I guess you could call it that) by Joel Schumacher, quite an possibly one of the most overrated directors of our time. He practically destroyed the Batman franchise and seems to carry great ideas and turn them to complete give tongue to garbage (insure 8mm). I dont want to derive across as too harsh. Ive liked a few of his movies (Cousins, Falling Down), but more often than not, I find myself amazed that he continues to get down work.

Bad Company was produced by Jerry Bruckheimer, and proves that this guy buns be responsible for a bomb. I cant imagine what he was intellection about when he picked up this project? In fact, the climax of the video is supposed to be an adrenalin pumper but its deficiency of reality and timing keep it from sustaining any sort of tension.

If you must see a halfway decent spy thriller this summer, go to The Bourne Identity element. Or do yourself a real favor and see Minority Report. I did myself a favor and went and saw it twice.

Do you think theres ever so been a time when someone as great as Tony Mark Hopkins found himself trapped in a movie this bad, and just all of the sudden ran for it. Just went into hiding for a year? I would have.

High on the heels of his incredible turn over in American Beauty, Kevin Spacey returns as a lubricant salesman in the fabulous The Big Kahuna, a photographic film written by Roger Rueff based on his play Hospitality Suite. Even more incredible, this was the first thing Rueff ever wrote and he was a chemical engineer when he ruined it.

The Big Kahuna was shot in about eighteen days and flows like a play much like Glengarry Glen Betsy Griscom Ross. There ar three leads played severally by Spacy, Danny DeVito, and St. Peter Facinetti. They spend most of the film engaging in complex conversations laced with smart, crisp dialog. The photographic film was directed with a steady hand by first timer John Lackland Swanbeck, and although the film isnt exactly high school tech, it is smooth and features dynamite playacting and a top notch script.

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What the hell is going on with Gus Van Sant? Its like he went on some sort of mushroom trip-up and returned convinced that the future of American cinema lied in the filming of people walking, walking aimlessly, sometimes murmuration while they walk or talking to others spell they walk, but the overriding tale theme or his last three films has been the do of walking. In Gerry two people walked, walked some more than - shouted at each other, peradventure climbed a little bit and then commenced walk again. In Elephant, the walking was somewhat more purposeful - these were student walk, often with definable destinations, but walk nonetheless. Heaps of walking.

Now comes Last Years, a storey about walking, although this walking might be more accurately described as aimless wandering, but Michael Pitt (Hedwig and the Angry Inch) walks. Through the woods, down to the river, pausing briefly to wonder at the awing nature of an occasional twig, merely then proper back to walking. Most of the time we see him walking from a aloofness, peaking through a president Bush at him walking, He even walks up to a house in the country. He walks right-hand in, then walks around looking for something to eat, sometimes squatting prospicient enough to eat, and so right back to walking.

As you may know the celluloid is suppositional to be loosely interpreter of Kurt Cobains last days of walking, simply other than a few minutes where he sits long sufficiency to play the guitar, while ululation in some sort of howling language. He walks. Walks the grounds of the big house and then out to the small invitee house we recognize as resembling the place where the real Kurt Cobain took his life. Thither are other people in the photographic film, mostly a bunch of druggy looking for grungers world Health Organization hang around, drink beer, have some sex and pay little if no attention to this guy walking about in his boxers. Nor does Pitt the Younger seem in the least bit interested in interacting with these people, later on all theyd only take time aside from his walking.

Van Sant fifty-fifty finds fourth dimension to take a poke at a couple Mormon missionaries, for no apparent reason, perchance because they prefer to ride ten-spot speeds in favor of walking. George Lucas Haas is recognizable as one of the people squatting in the house, but he certainly doesnt offer whatsoever light as to what were supposed to make of this film. He seems not to like Pitt, just we have no mind why, peradventure he drank the net of the milk?

I hate to say that I was in kind of a hurry for the walking man to grab the shotgun, only since I knew it was approach and theres nothing I can do about it, I figured why not take me out of my misery. Im exhausted from all this walk. The deplorable thing is there have been multiplication in my life when Ive been in those walking place, so I could relate to it, but still I didnt like this film in the least. Waste of time. Picking at Cobains bones.

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In a summer of sequels and cartoon adaptations, Stardust emerges as a most welcome summer treat. Based on the graphic novel by Neil Gaiman, this phantasy features Charlie Cox as Tristan, a young isle of Man who crosses into the realm of a magical land in order to fetch a fallen star and play it back up to the girl of his dreams. However, when he reaches this star he is amazed to find that the twinkler is in the form of a mysterious young woman name Yvaine (Claire Daines). Earlier long, Tristan is in a frantic race to return to the away world. During his fantastical adventure, he comes across a nefarious witch (played with mephistophelian glee by a howling Michelle Pfeiffer) and a lightening bolt chasing pirate (a playful Robert DeNiro) with a secret. Stardust is somewhat uneven and I expected a bit more from the termination, but its still a visual stunner with rattling special personal effects and a little something for everyone (including chills, thrills, venture, and romance). Earlier this summer, I suggested that Pirates of the Carribean: At Worlds End had a svelte Terry Gilliam touch to it. Ditto mark here. Stardust also has a tonicity akin to the dearest Rob Reiner fantasy The Princess Bride. Its sad to me that this flick has underperformed at the box office. Its a shame, because Stardust has for certain been one of the brighter cinematic moments of the summertime.

A deal has been made of the Oscar nomination that Sean Pennsylvania has recieved for his performance in this new film from Woody Allen. Even though I was quite fond of Jim Carreys wreak in Man on the Moon, Penn is very worthy of the nomination.

In Sweet and Lowdown, Penn plays a selfish, flashy jazz guitarist circa the 30s. Allen has fashioned a terrific screenplay that only gives us hints into this mans life as opposed to a smooth, full bodied story, only adding to its effectiveness. Since not a lot was none about this great muscisian, I judge that was the entirely way to tell the story.

Once again, Penn is fabulous bringing layers to this completely engaging character. He is certainly one of our very best actors. Allen besides gets a spectacular public presentation out of Samantha Jelly Roll Morton as a mute and one of many woman in this jazzmans lifespan.

The floor only seems to trip up when Uma Thurman is on screen. She comes across dull and as stiff as a board, but thats hardly sufficiency to ruin this very entertaining motion picture.

Perhaps the most striking thing about Sweet and Lowdown is how so much of the account seems to mirror often of Allens life. This was likewise true of one of Allens best films Deconstructing Harry. In that scene, this is a pretty bold and courageous moving-picture show. But precisely as Penns character in Sweet and Lowdown, Allen Stewart Konigsberg expresses himself through his art.

Sweet and Lowdown does show Woody Allen at the top of his craft. Its a vast betterment over the amusing just disapointing

A couple of years back, documentarian Chris<br />Smith made a fantastic objective called American language Movie, an odd minuscule gem around a Wisconsin River film manufacturing business who would do anything to drive his movie made.

Now Smith returns with Home Movie, an entertaining profile of five eccentric home<br />owners and the assorted structures that they call home. As the motion picture progressed, I really establish myself connecting with these people inspite of their strange small quirks.

If I have a charge about this particular<br />documentary, its that it was too curt. I could have spent hours with these hoi polloi.

Director Micheal Mann has built quite a the resume since his days with the TV show Miami Vice. He directed the thriller Man Hunter, the indian heroic Last of the Mohicans and the brilliant offence saga High temperature just to name a few.

With The Insider, hes directed what is the to the highest degree restrained and understated film of his career. The Insider is the truthful story of whistle-blower Jeffery Wigand (stunningly played by Russell Crowe), who helped to blow the lid off of some ugly secrets inside the tobacco industry.

Specifically, it chronicles the hamper that develops between Wigand and 60 Minutes producer Lowell Ingrid Bergman (played attractively by Al Pacino). Thomas Mann also gives an insightful look into the earth of the media and big journalism, that includes anchor personality Mike Richard Horatio Edgar Wallace (played by Christopher Plummer).

Most of all its a celluloid about a family human who, while under uttermost pressure, must make a choice that may ruination his life. Its a story about the ultimate dilemma. Horace Mann has fashioned an noetic epic that isnt quite a as entertaining as Heat energy, but every bit as compelling.

It also has a career defining performance by the underrated Crowe (L.A. Confidential), wHO captures the fire and vulnerability of this despairing and complex man.

Mann has an unbelievable optic for detail and The Insider is never anything less than intriguing.

hey..ur rattling hot, how about you come to my house and brushup my sleeping room.