STREET KING (TRAILER)

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The Chronicles of Narnia: The Prince Caspian

The characters of C.S. Lewis’s timeless fantasy come to life once again in this newest installment of the “Chronicles of Narnia” series, in which the Pevensie siblings are magically transported back from England to the world of Narnia, where a thrilling, perilous new adventure and an even greater test of their faith and courage awaits them.

One year after the incredible events of “The Lion, the Witch and the Wardrobe,” the Kings and Queens of Narnia find themselves back in that faraway wondrous realm, only to discover that more than 1300 years have passed in Narnian time. During their absence, the Golden Age of Narnia has become extinct, Narnia has been conquered by the Telmarines and is now under the control of the evil King Miraz, who rules the land without mercy.

The four children will soon meet an intriguing new character: Narnia’s rightful heir to the throne, the young Prince Caspian, who has been forced into hiding as his uncle Miraz plots to kill him in order to place his own newborn son on the throne. With the help of the kindly dwarf, a courageous talking mouse named Reepicheep, a badger named Trufflehunter and a Black Dwarf, Nikabrik, the Narnians, led by the mighty knights Peter and Caspian, embark on a remarkable journey to find Aslan, rescue Narnia from Miraz’s tyrannical hold, and restore magic and glory to the land.

Directed once again by veteran director Andrew Adamson, screenplay by Andrew Adamson and Christopher Markus & Stephen McFeely and produced by Mark Johnson, Andrew Adamson and Philip Steuer, the film reunites the original cast and creative team behind the blockbuster first film in the series.


Director: Andrew Adamson
Cast: Georgie Henley, Skandar Keynes, William Moseley, Anna Popplewell, Ben Barnes, Peter Dinklage, Pierfrancesco Favino, Sergio Castellitto, Liam Neeson

The Forbidden Kingdom

A 21st Century American teenager takes a spellbinding, dangerous journey into martial arts legend in the new action/adventure epic THE FORBIDDEN KINGDOM. Shot on location in China, THE FORBIDDEN KINGDOM marks the historic first-ever onscreen pairing of martial arts superstars Jackie Chan (RUSH HOUR, DRUNKEN MASTER) and Jet Li (FEARLESS, ONCE UPON A TIME IN CHINA), and features the awe-inspiring action choreography of Woo-Ping Yuen (THE MATRIX, CROUCHING TIGER HIDDEN DRAGON).

While hunting down bootleg kung-fu DVDs in a Chinatown pawnshop, Jason Tripitikas (Michael Angarano - "24", "Will and Grace," LORDS OF DOGTOWN, SEABISCUIT) makes an extraordinary discovery that sends him hurtling back in time to ancient China. There, Jason is charged with a monumental task: he must free the fabled warrior the Monkey King, who has been imprisoned by the powerful Jade Warlord. Jason is joined in his quest by wise kung fu master Lu Yan (Jackie Chan) and a band of misfit warriors including Silent Monk (Jet Li). But only by learning the true precepts of kung fu can Jason hope to succeed - and find a way to get back home.

Directed by Rob Minkoff (STUART LITTLE, THE LION KING), the film marks the first-ever onscreen pairing of martial arts superstars Jackie Chan (RUSH HOUR, DRUNKEN MASTER) and Jet Li (FEARLESS, ONCE UPON A TIME IN CHINA). Produced by Casey Silver (LEATHERHEADS, HIDALGO) and written by John Fusco (YOUNG GUNS, HIDALGO), THE FORBIDDEN KINGDOM is based on the traditional Chinese legend of the Monkey King.


Director: Rob Minkoff
Cast: Jackie Chan, Jet Li

21(trailer)

Sex and Death 101

Sex and Death 101 stars Golden Globe nominee Simon Baker (“The Guardian,” The Devil Wears Prada) as Roderick Blank, a successful executive and ‘ladies man,’ whose life is turned around by an email that includes the names of everyone he’s had sex with and ever will have sex with. Oscar® nominee and Golden Globe winner Winona Ryder (The Age of Innocence, Little Women) stars as ‘Death Nell,’ the mysterious femme fatale who becomes an urban folk hero when she targets men guilty of sex crimes against women.

The film co-stars Leslie Bibb (Talladega Nights: The Ballad of Ricky Bobby), Julie Bowen (“Boston Legal”), Sophie Monk (Click, Date Movie), Mindy Cohn (“The Facts of Life”), Dash Mihok (Kiss Kiss, Bang Bang), Patton Oswalt (Ratatouille) and Neil Flynn (“Scrubs”).


Director: Daniel Waters
Cast: Simon Baker, Winona Ryder, Leslie Bibb, Patton Oswalt, Mindy Cohn, Neil Flynn, Julie Bowen

REVIEW:Strummer: The Future is Unwritten

RELEASE DATE : 20th September 2007-10-12
RUNNING TIME: 125 minutes
Rating: PG+15
INTERVIEWEES include: Mick Jones, Johnny Depp, Flea, Martin Scorcese, Alasdair Gillies, Matt Dillon, Steve Buscemi, Jim Jarmusch
DIRECTOR: Julien Temple
DISTRIBUTOR: DENDY FILMS

SYNOPSIS: Joe Strummer was the front man for ‘The Clash’from 1977 onwards. Four years after his death, his influence reaches out around the world perhaps more strongly than ever.

Drawing on both a shared punk history, and eventually a close personal friendship which developed over the final years of Joe’s life. Julien Temple’s film is a celebration of Joe Strummer before during and after The Clash. In the 70’s and 80’s The Clash revolutionised rock’n’roll and changed peoples attitudes forever. Structured around the idea of Strummer’s ‘LONDON CALLING’ show which went out to 40 million listeners on BBC radio between 1998- 2002 and the lengendary Strummerville Campfires, it is Joe and the people closest to him.

REVIEW:
Julien Temple was the first to film the newly formed band THE CLASH in 1976 . Then after a 20 years Joe turned up a the gate of Juliens house in Somerset and a friendship was born.

Temple’s personal friendship with Strummer stamps a bias on Joe’s life which is unmistakable and while this might detract from the story, the director never allows it to revealing a warts and all story of a man whose social conscious was also interlaced with his own faults and transgressions. Joes faults make his social conscience all the more remarkable. Most of us go through our lives complaining about how hardly done by we are, but Temple depicts a man that continued to overcome obstacle after obstacle as he tried to educate the global community. His 1980 triple album ‘SANDINISTA’ warned of a conflict that the media still hadn’t properly acknowledged.

A wandering narrative through Strummer's days of his childhood, in India, South America and London, home movies, family photos and interviews with notable fans such as Bono, Martin Scorsese Temple has resisted the urge to paint a saintly figure. The influences of Strummer’s music and his efforts with the BBC and his Stummerville Campfires is obvious. Interviews today’s social activist provide us with an insite into the effect Strummer had on his generation and the generations that will follow.

Those who grew up in the 70’s and 80’s and attended live CLASH concerts or any one of the many Campfires, may find this film a little lacklustre, but for those of us who never had that chance this is a great way to catch a glimpse of what we missed out on.

The film nicely researched and shot simply and matter of factly provide the audience with a interesting portrait of one man’s challenge to argue with the world about to fight for peoples basic rights to disagree, quarrel and even ‘clash’ with the conservative and predictable ideals of society

RANKING 7/10

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Taxi to the Dark Side (2007)

A year from now, the presidency of George W. Bush will end, but the consequences of Mr. Bush’s policies and the arguments about them are likely to be with us for a long time. As next Jan. 20 draws near, there is an evident temptation, among many journalists as well as politicians seeking to replace Mr. Bush, to close the book and move ahead, an impulse that makes the existence of documentaries like Alex Gibney’s “Taxi to the Dark Side” all the more vital. If recent American history is ever going to be discussed with the necessary clarity and ethical rigor, this film will be essential.

Mr. Gibney directed “Enron: The Smartest Guys in the Room” and was an executive producer of Charles Ferguson’s “No End in Sight,” films that show the same combination of investigative thoroughness and moral indignation that animates “Taxi.” The germ of this documentary’s story is the case of Dilawar, a taxi driver who was detained in Afghanistan in 2002 and who died in American custody at the prison in Bagram a few months later. Though Dilawar was never charged with any crime — and was never shown to have any connection with Al Qaeda or the Taliban — he was subjected to horrifically harsh treatment: deprived of sleep; suspended from a grated ceiling by his wrists; kicked and kneed in the legs until he could no longer stand.

The film includes remarkably frank interviews with American servicemen, some of whom faced courts-martial in connection with Dilawar’s death; with a fellow prisoner at Bagram; and with Carlotta Gall and Tim Golden, who reported on Dilawar’s story for The New York Times. “Taxi to the Dark Side,” however, does not simply recount a single, awful anecdote from the early days of the war on terror; rather, it traces the spread of a central, controversial tactic in that war. The burden of Mr. Gibney’s argument, laid out soberly and in daunting detail, is that what happened to Dilawar was not anomalous, but rather represented an early instance of what would soon be a widespread policy.



From Bagram in 2002, “Taxi to the Dark Side” charts a path to Guantánamo Bay and Abu Ghraib, all the while insisting that the brutal treatment of prisoners in those places was hardly the work of a few “bad apples,” as Pentagon officials said. Instead, the sexual humiliation, waterboarding and other well-documented practices were methods sanctioned at the very top of the chain of command. How those methods were intended to work — to break down psychological defenses, to induce not only physical discomfort but also a kind of madness — is laid out in interviews with behavioral scientists, and also with professional interrogators and their victims.



Though Mr. Gibney’s own views are evident throughout, he does allow those who defend the use of torture on legal and strategic grounds to have their say. By now, surely, the empty semantic debate about the appropriateness of the word torture has been settled, but it is still important to recall that in the months after the 9/11 attacks, the willingness to consider the necessity of extreme and previously taboo tactics was widespread. It was Vice President Dick Cheney who noted in a television interview that the fight against Islamic extremism would necessitate a trip to “the dark side,” as administration lawyers prepared (and later publicly defended) briefs and memos limiting habeas corpus and the applicability of the Geneva Conventions.



“Taxi to the Dark Side” includes an interview with the former Justice Department official John Yoo and clips of former Defense Secretary Donald H. Rumsfeld and former Attorney General Alberto R. Gonzales responding to their critics. And its essential fair-mindedness (which is not the same as neutrality) strengthens the film’s accounting of the consequences, both strategic and moral.



Jack Clooney, a longtime F.B.I. interrogator, argues that kindness can be a more effective way to manipulate a prisoner and gain information than cruelty, while young men who worked at Bagram and Abu Ghraib testify to the atmosphere of sadism in those places. Their matter-of-fact tone provides, in some ways, the most powerful support for Mr. Gibney’s view of the corrosive effects of torture on American traditions of decency and the rule of law.



His film is long, detailed and not always easy to watch. Plenty of moviegoers would happily pay not to think about the issues raised in “Taxi to the Dark Side.” But sooner or later we will need to understand what has happened in this country in the last seven years, and this documentary will be essential to that effort.



“Taxi to the Dark Side” is rated R (Under 17 requires accompanying parent or adult guardian) for disturbing images and content involving torture and graphic nudity.


TAXI TO THE DARK SIDE


Opens on Friday in New York and Los Angeles.

Written, directed and narrated by Alex Gibney; directors of photography, Maryse Alberti and Greg Andracke; edited by Sloane Klevin; music by Ivor Guest and Robert Logan; produced by Mr. Gibney, Eva Orner and Susannah Shipman; released by ThinkFilm. Running time: 1 hour 46 minutes.

Day.Of.The.Dead(2008)XviD

Genre: Horror / Thriller
Plot: Nick Cannon, Mena Suvari and Ving Rhames star in this horror film based on the George A. Romero classic zombie film. A mysterious virus has infected the small town of Leadville, Colorado and the military is brought in to enforce a quarantine and stop the spread of the disease. As people perish, survivors realize that the virus is creating the walking dead who crave human flesh. Only a small number of people are immune to the virus and those few survivors must battle to fend off the infected zombies while trying to make it out of town alive.

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10,000 BC (2008)

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21(2008)

21 (also referred to in advertising as "21: The Movie") is a 2008 drama film from Columbia Pictures. It stars Jim Sturgess, Kevin Spacey, Kate Bosworth, and Laurence Fishburne. The film is based loosely around the story of a 1990s incarnation of the MIT Blackjack Team.

Plot

Ben Campbell (Jim Sturgess) is an MIT student who – needing to pay school tuition – finds answers in counting cards. In his non-linear equations class, he amazes his professor, Mickey Rosa, by correctly understanding variable change and correctly solving the Monty Hall Problem. As a superior math and statistics student, he is recruited to join a group of mathematically-gifted students that heads to Las Vegas every weekend with fake identities and the know-how to turn the odds at blackjack in their favor. Unorthodox math professor Mickey Rosa (Kevin Spacey) leads the way. By counting cards and employing an intricate system of signs and signals, the team can beat the casinos. Drawn by the money, the Vegas lifestyle, and his teammate, Jill Taylor (Kate Bosworth), Ben begins to push the limits. Though counting cards isn’t illegal, the stakes are high, and the challenge becomes not only keeping the numbers straight, but staying one step ahead of the casinos' menacing enforcer, Cole Williams (Laurence Fishburne).

Cast

* Jim Sturgess as Ben Campbell, the protagonist, an MIT student incredibly good with numbers but in need of money, who becomes a member of the blackjack team. Based on Jeff Ma.[1]
* Kevin Spacey as Mickey Rosa, math professor and the founder of the blackjack team. Based on a composite of J.P. Massar and Johnny Chang[2]
* Kate Bosworth as Jill Taylor, a member of the blackjack team. Based on Jane Willis.
* Laurence Fishburne as Cole William, a casino security agent who becomes determined to take down the team. Based on employees of Griffin Investigations[3]
* Aaron Yoo as Choi, a member of the blackjack team.
* Liza Lapira as Kianna, another blackjack team member
* Josh Gad as Miles Connoly
* Jacob Pitts as Fisher, another blackjack team member. Based on Mike Aponte
* Jack McGee as Terry
* Roger Dillingham, Jr. as Head Bouncer

Factual inaccuracies

* Many details related to the nature of profitable team blackjack play were simplified or incorrect. Among these: Spotters would not keep playing once the Big Player arrives - doing so wastes the good cards. The Big Player wouldn't need somebody else to tell him when "the deck has gone cold"; the count tells him that. A spotter who only makes table-minimum bets wouldn't get comped to a suite. Skilled players can have losing streaks even when playing well and according to a system.

* Even high-stakes card counters get peacefully asked to leave rather than beaten in a back room when casino security first approaches them. Since counting cards is legal, players who are beaten up or robbed have recourse to seek legal redress so in reality Laurence Fishbourne's character would quite likely have been arrested and/or sued for his actions.

* Many details related to casino game protection mechanisms were simplified or incorrect. "Biometric software" seems to have stood in for a wide array of new technologies that are changing the nature of game protection but there is still the need for human evaluation of play at the tables.

Differences between the movie and the real life story

Although the movie is loosely based on a book which is loosely based on the real-life exploits of the MIT Team, little effort was made to be historically accurate. The film adds many plot points for dramatic affect, chararacters are based on composites and boring real-world details are simplified. Many casino locations shown in the film (including the Hard Rock Casino, the Bellagio fountains, and the Wynn) did not exist during the time portrayed, and no MIT professor was ever on the team.

My Opinion
The Movie was great, ive seen the History channel Doc, On the real life guys which i found was cool to
so check that out if you liked this movie. O and i ran the CAM threw Enhance Movie 2.2 again so it would
be better quality. Im going to do this with all CAM releases i post from now on...
ENjoy!

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SUPERHERO MOVIE (2008)

Who's in It: Drake Bell, Sara Paxton, Christopher McDonald, Leslie Nielsen, Kevin Hart, Marion Ross, Brent Spiner, Jeffrey Tambor, Robert Hays, Tracy Morgan, Regina Hall, Craig Bierko, Pamela Anderson
The Basics: I've grown to despise the word "spoof." All it means now is someone doing a Johnny Depp-as-pirate impersonation or making fun of Tom Cruise jumping on a couch. In this movie, it means sending up straightforward superhero movies with tired jokes. It also means more Cruise gags. And some farting. OK, lots of farting.

What's the Deal? It no longer matters that the guys behind this have a somewhat classier pedigree (Scary Movie) and aren't the same culture criminals that belched forth Meet the Spartans, Epic Movie and Date Movie. The template is nearly the same and the jokes are just as weak, if slightly less insultingly stupid.

Go If You Like: People being bonked on the head. That's pretty much the bulk of the comedy here. In fact, nearly every scene features someone being injured, which is — see credits above — a minor comedic step-up from the Meet the Spartans approach of "Hey look, it's that guy from Borat!"

Don't Go If You Like: Anderson. She's got about one minute of screen time. And she's the Invisible Woman.

Who's Kind of Funny: Tambor as a crazy doctor.

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STOP-LOSS (2008)

Who's in It: Ryan Phillippe, Channing Tatum, Joseph Gordon-Levitt, Rob Brown, Abbie Cornish, Alex Frost
The Basics: Purple Heart recipient Phillippe (that's what they give you when you're married to Reese Witherspoon for any length of time — OK, kidding) is redeployed for a third tour of duty to Iraq. He decides that this is not for him and goes AWOL, demanding an answer — much like the movie does — to the question of why the war goes on and on, decimating the lives of everyone it touches.

What's the Deal? Even if you haven't seen any of the recent Iraq War-themed films (and you probably haven't because they've all earned a collective 35 bucks at the box office), and even if you never saw Coming Home or The Deer Hunter, you sort of already know what's going to happen. These guys are going to be really, really messed up, and no one's going to be able or willing to help them. It's a plotline that's ingrained in the culture just by sheer repetition: That war stays hell even after the war is over. But of all the recent fictional films about Iraq, this one's the best of the bunch.

What Kimberly Peirce Is Really Good At: As a Texan, I can tell you that she knows middle America well enough to critique its politics and its prejudices without making everyone there look like someone from a sketch on Blue Collar TV. She does it all without being judgmental or phony or condescending, which is something Hollywood almost never gets right.

Underpants Cinema: I guess it's a concession to its target audience, but I thought it was kind of strange how when the soldier boys all have their various existential crises, they manage to be in wet T-shirts or look like an ad for Calvin Klein briefs.

How You'll Know It's More Humanistic Than Political: No matter what your politics are, you'll leave thinking the movie let the other side off too easy.

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PRICELESS (2008)

Who's in It: Audrey Tautou, Gad Elmaleh
The Basics: Two gold-diggers find sex and then, of course, love with each other after coming to the end of their careers as professional suitors of rich old guys and their cougar counterparts. That you can figure this out after about 10 minutes won't lessen your enjoyment of the scenes where they indulge in luxury goods and resort surroundings. It's like they made a whole movie out of the Pretty Woman shopping montages.

What's the Deal? There are "French films" and then there the ones that happen to be in French. I finally understand that concept after voluntarily paying 14 dollars extra a month to Time Warner Cable for the French movie channel, where they ditch the Godard and air stuff like this crowd-pleaser instead — where people are being wacky and beautiful and lounging on chaises or else pulling off explosion-filled heists.

For Fans Of: Chanel and the thrill of watching people try on that label's shoes, copious amounts of amoral whoring, the interiors of fancy hotels on the French Riviera, that part in Amélie where Tautou rides around happily on a scooter, lame French hip-hop on film soundtracks, French people pronouncing the word champagne in the way you always thought was an exaggerated cliché but, in fact, turns out to be the way they really say it.

Where You've Seen the Main Guy Before, Provided You Even Keep Up With French Movies: Elmaleh was most recently the star of the romantic comedy The Valet.

One Concern: Tautou has a major sternum situation happening. I don't like to write negative things about women's bodies, usually, but you see her being very skinny and bony in low-cut dresses a lot, and it never gets comfortable to look at.

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MY BROTHER IS AN ONLY CHILD (2008)

Who's in It: Elio Germano, Riccardo Scamarcio
The Basics: Two Italian brothers in the late 1960s/early 1970s come of age and find themselves in personal, sexual and political rivalry with each other. One is a free-love communist and the other is a fascist hooligan. They fight a lot. Sounds heavy, but it's not, because it leans more toward small, personal, humorous moments than big, sweeping, dramatic declarations or weepy nostalgia.

What's the Deal? Obviously, it would help if you had a clue about Italy's fascist past and the Marxist youth rebellion of that time period, but it's not absolutely necessary. It's not so much about that stuff (and the highlights are explained pretty well) as it is about how two very different brothers come to love and care for each other.

Pedigree: Written by Sandro Petraglia and Stefano Rulli, the guys who wrote the amazing (and weirdly successful with U.S.-foreign-film audiences, considering that it was a six-hour TV miniseries released here theatrically) The Best of Youth.

Funniest Part: A communist orchestra and chorus performs Beethoven's "Ode to Joy" with reworked, pro-Mao text and Bob Dylan-like flash cards to get its godless point across. It really doesn't add much to the plot, but it's still part of the movie's tone of gentle mockery toward extreme politics.

You Don't Know Him Now but You Will: Germano, as the younger, hard-headed fascist brother who experiences the most personal change, pretty much walks away with the whole movie.

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FLAWLESS (2007)

Who's in It: Michael Caine, Demi Moore
The Basics: Caine recruits a disgruntled diamond-industry executive (Moore) to steal a fortune in rocks. And because it's set in London in the 1960s, the audience is invited to confuse cool period sets and costumes with "good old-fashioned heist action."

What's the Deal? This could have been a really cool woman-gets-revenge-on-the-Old Boy Network crime movie, but it never learns to enjoy itself and, worse, it bores in the process. It's sort of like Mad Money that way. But even that had Diane Keaton, who seemed to be enjoying herself. Anyway, if you want to see a vintage-looking British crime flick that's actually enjoyable, then check out The Bank Job instead.

Name Demi's Accent: Remember how Audrey Hepburn's sounded like it was from everywhere and nowhere at once? Maybe Europe? Maybe a fancy pocket of America? That seems to be Moore's approach to speaking here. She says words like "chahhnce" a lot. Meanwhile, other characters remind you she's supposed to be American (their voices and that information always looped in, off camera). At least she sounds better than Kevin Costner in Robin Hood: Prince of Thieves.

Pedigree: From hacky director Michael Radford, who made the inexplicably popular Il Postino. That he also made the wacky stripper movie Dancing at the Blue Iguana sort of saves his rep for me. (I recommend it, not least for the scene where pole-dancer Jennifer Tilly screams about how her baby is going to grow up to be an elementary-school drug dealer.)

If Wigs and Shoes Were a Performance: Then Moore would be an Oscar nominee. Her hair doesn't reach the monumental heights it did in Bobby, which is probably one of the most impressive wig movies of all time, but she makes up for it by clip-clopping around in really high heels that the camera can't stop focusing on for some reason.

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CHAPTER 27 (2008)

Who's in It: Jared Leto, Lindsay Lohan, Judah Friedlander
The Basics: This is the one where Leto gained 60 pounds to play Mark David Chapman, the crazy guy who killed John Lennon because he thought Catcher in the Rye told him to. But now that you know how it ends, there's not a ton of suspense left besides finding out what Leto looks like chubby and shirtless (answer: like a greasy Pillsbury Doughboy).

What's the Deal? This isn't as awful as it's going to be received. But it does have one big glaring thing wrong with it, and that's that there's nothing going on here except watching Leto try to become a method actor. I can kind of sympathize with the guy's clear rebellion against being typecast, when what he's most known for is being a teen heartthrob on a long-cancelled '90s TV drama. It all feels like a bid to be the male Charlize Theron in Monster.

One Thing I'd Honestly Never Thought About Before Watching This, Mostly Because I Don't Spend a Lot of Time Obsessively Connecting the Dots: That Lennon lived in the Dakota, where they shot Rosemary's Baby, which was directed by Roman Polanski, whose wife Sharon Tate was murdered by Charles Manson, who was inspired to do so by a Beatles song. This coincidence — mentioned by Leto in the movie — actually has nothing to do with the quality of the film itself. But I got bored enough to find it somewhat fascinating to think about for a bit.

What Are Lohan and 30 Rock's Friedlander and a British Character Actor Named Mark Lindsay Chapman Doing in This? Not much. She plays a Beatles superfan named Jude. She quotes lyrics (and gets freaked out by Leto). He plays a paparazzo. The strangely named Chapman plays, yes, Lennon. But that's about it. It's Leto's show.

What the Title Means: Chapman believed that killing Lennon would be a way to write a 27th chapter to the 26-chapter-long Catcher.

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21 (2008)

Who's in It: Jim Sturgess, Kevin Spacey, Kate Bosworth, Laurence Fishburne
The Basics: The answer to the question, "When will someone get the big idea to remake Ocean's Eleven, but with cards like in Lucky You, but also with really young hot people, but also really lame and boring?" The plot: MIT kids, who should all really be modeling somewhere, learn how to beat Vegas at its own game, thanks to a wily old professor/card shark (Spacey).

What's the Deal? When I'm watching a movie about a heist or a big scam of some kind, my favorite part is knowing the mechanics of that crime. I want to see it all ticking like clockwork. And then I want my criminals to be charming and funny so I can get with their misdeeds in good conscience. So this, of course, goes out of its way to be not particularly smart, even though it's about really smart people, and to sacrifice caper for interpersonal relationships. "Ooh, my girlfriend thinks I'm consumed with ambition. Oh, my moral dilemmas." Yawn.

Who's Good: Spacey. Just like in Fred Claus and every other not-great film he tries to save, Spacey is one of the movies' best mean jerks. So even though this film is beneath his abilities (and yet he's also the executive producer, so he shares part of the blame all the same), he's fun to watch be unscrupulous.

What's Extra Dull: People playing cards. It seems that barely anyone can make this activity fun to look at. The latest version of Casino Royale was pretty cool. Even The Sting made it seem like kind of a blast. But here it's like watching mold grow on cheese.

Like Better Luck Tomorrow, But White: In real life (because this is loooooooooosely based on a real story), all the kids were Asian. But Hollywood has this affirmative-action policy for white people, see, just to give them a sorely needed leg up, and so this version is just more, you know, balanced.


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