The Island (2005)

island

It was no surprise to me that “The Island” was dumb. It was idiotic, it was ludicrous, it was moronic, and it was every other homonym for the word stupid I can think of. It’s Michael Bay for crying out loud. I was actually looking forward to Bay’s most recent shit pile, only because it seemed to have an original concept to it, but man, whatever potential this has to be a story about life, and exploring the world beyond what we’re presented with is thrown out the window thirty minutes in, when it becomes a typical stunt show.

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Feast (2005)

So, after an okay last season of “Project Greenlight” with Cleftatron Affleck, and Dimples Damon you probably wonder: “Did they actually spit a good movie from this show?” Well, I’ll say this: Even the goose shits a few times before laying a golden egg, and “Feast” is shockingly the golden egg after the two previous shits that were “The Battle of Shaker Heights” and “Stolen Summer.” Shocked? I still am. A group of strangers, the middle of nowhere, a rundown bar, a grizzled bartender, and an ass load of monsters. Sound familiar to you, doesn’t it?

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Rest Stop (2006)

reststop3-1A cell phone that isn’t working, a gritty rest stop, no phone in sight, a bitchy wife, an inept husband, a mysterious man behind the wheel of a car, and a lot of screaming. Well, now that we have all the clichés in order, let’s make a movie! “Rest Stop” wants to be “Wolf Creek,” it wishes it were “The Hitcher,” it vies to be “Duel,” but in reality it’s not even as good as “Joy Ride.” If this is what we’re getting from direct to video, I’m shocked that I’m still a horror fan. “Rest Stop” is a sloppy hackneyed piece of dribble that derives much of its plot from different survivalist horror films only to be called a survivalist horror film.

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A Day Without a Mexican (2004)

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What if American’s Mexicans suddenly disappeared one day? Well, in effect, what if America’s “laziest race” disappeared one day? Well, then we’d have a nation of lazy Caucasians, wouldn’t we? And we’d have an actual group of people, whom are Americans who will not work. And we’d be at war with one another. And we’d be calling each other sub-human, wouldn’t we? “A Day without a Mexican” is not just a satire on the Mexican sub-culture, but an indictment on America on the Hispanic sub-culture. But I’m trying to figure out what the hell was going through the writers minds when making this.

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Alone in the Dark (2005)

And in the distance, as the movie came to a close in an ending that ripped off the remains of “Evil Dead” so badly I gazed in wide eyed horror, a woman could be heard–laughing aloud. Is this ever a good sign to a good movie? No way, and that was a surefire indicator Uwe Boll had done it yet again, he’d made a movie that rivaled the sheer horror that was “House of the Dead,” a movie that will forever live in infamy as one of the worst horror movies ever made. Suffice it to say, if I made a drama or horror and spawned even the slightest of laughter, I’d duck out of the theater and hide in a cave. Too bad Boll didn’t do it.

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Kraken: Tentacles of the Deep (2006)

It’s almost like watching teenagers act out “The Deep” on a student theater stage somewhere, because in the end, “Kraken” is basically just that. It’s a very low rent and C grade variation of “The Deep,” minus the compelling story, and wonderful characterization. And oh yes, there’s the small case of the acting and lack thereof. This low rent thief stars two people whom will garner two reactions from you. One will be “Who?” while the other will be “O-h-h-h-h-h… who?” Victoria Pratt, or as I call her “The hot chick from the crappy X-men show,” stars in “Kraken” as a marine biologist looking for an underwater treasure. Stop me, if you’ve heard this one.

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Now You See Me, Now You Don't (Most látszom, most nem látszom) (2005)

nysmFilmmaker Szász poses three riddles to the viewer in only thirty minutes including what’s wrong with this scene? And then there are three more posed to us, but three that will basically give away what this has to offer. Almost in the manner of Shyamalan, Szász starts the film on a soft note and then builds for a rather surprising albeit predictable climax that worked in the end, and that’s due to the rather excellent performances throughout the short film. Szász’s film is a solid utterly wrenching supernatural drama that tests not only the audience, but the perceptions of our views into grief, and isolation after grief.

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