A Psycho Thriller/Black Comedy Crossover... With A Heart
930239
If you're tired of formulaic fare - both at the multiplex and in the horror movie scene - this film is a breath of fresh air.  Had the pleasure of seeing this at a festival last year and it's one of the best indie movies I've seen in a long while.  The clever storyline seems to be a psycho thriller about a misfit's revenge then shifts into a tale about said misfit trying to find love and happiness before giving way to a third act that throws all manner of curveballs at the viewer.  Great performance from Kevin Corrigan in a rare lead role plus fun supporting performances from Barry Bostwick and Karen Black, both of whom steal scenes with a veteran's skill.  It's also directed with an eye for color and deadpan dark wit by Jack Perez, who also helmed the underrated LA CUCARACHA.  This is a cult movie in the making - and fans of that sort of fare are advised to take a gamble on this deserving effort.
507942
ALEX CROSS has all the ingredients we expect in a film of its sort: an engaging plot-line, a criminal we love to hate and want to see "get his," harrowing chase scenes, a couple of real surprises, etc. It also has several of the corninesses and unlikelihoods that are usually found in a film of this genre, but oh well.

Tyler Perry plays the role of the lead character, a combination psychologist-profiler-homicide detective, very naturally, and the character he plays is better developed than those in many thrillers. Matthew Fox is similarly good in the role of the psychopathic bad guy. Most of the supporting cast play their roles quite believably: There are some truly interesting characters in this film, e.g., Cicely Tyson as "Nana Mama."

Notably, ALEX CROSS succeeds in being rivetingly disturbing without a lot of gore, ultra-violence, or any serious sex/nudity to spice the cake (hence, the PG-13 rating).
3087466
If you have not seen this movie already, but heard all the praise it has received, and so are feeling curious, a word of advice: before you buy, first go out and rent it, or get it from an online service such as Amazon, Netflix, etc., watch it, and then make up your mind.
This film has some amazing special effects, excellent performances by two great actors, playing the roles of a major character (the late Heath Ledger), and a minor one (the wonderful Michael Caine), and competent work by everybody else. There is a lot of jumping from tall buildings photographed from the point of view of the jumper (and am told vertigo-inducing in the giant-screen Imax version), and lots of big explosions, including the controlled demolition of a hospital. There is an eye-popping crowd scene of a funeral procession by uniformed policemen in downtown "Gotham" (Chicago), and more, much more. That one, like many other sequences in city streets, did leave me wondering: "How did they do that? It's just CGI? Can't be!"
And the movie can be really, really scary at times (so: not for young children).

There is also what passes for deep pondering of issues existential and moral, and explicit and implicit mediations on the ambiguities of human nature; of good, evil, moral purpose versus nihilism, and so forth. These profound issues are discussed (whenever cars are not being demolished, people shot dead point-blank, and buildings blown up) mostly between a psychopath with the face smeared with runny clown's paint and a man in tights wearing a bat costume.
There is humor, unremittingly black, delivered non-stop by the "Joker", which is fair enough. But that is all the humor there is.
Since the original Tim Burton's "Batman" movie that started the franchise, the plots have grown progressively darker, more angst-ridden, and more self-conscious. This later movie not only tops them all as far as darkness goes, but also adds a huge helping of sadism for good measure. And it does so without the saving grace of a young Michelle Pfeiffer cavorting in a tight Catwoman costume.
I am not going to go as far as to say that one must like bare-fist boxing to fully enjoy this movie, but it might help. I should add that I am a fan of Quentin Tarantino's movies, so violence per se does not turn me off. The real issue is whether violence is there as just one ingredient in an ingenious mix of dark and light, sweet and sour, spiced with brilliant dialog and some hot ass-kicking beauties, as in most QT's movies, or -- as it seems to me was the case here -- the team that produced it put the almost non-stop sadistic violence in their reimagining of the original superheroe vs. supervillain comic books, because they could.
But this is just a one-man's opinion. If you try it out as a rental and then decide it is worth having it at home for future viewings, then, by all means, go ahead, buy it, and enjoy.
62815
I went to see "Hannibal," the sequel to the unforgettable horror-suspense classic "The Silence of the Lambs," with great anticipation. And was I in for a surprise. I found "Hannibal" to be more of a grotesque comedy than a true horror film. Still, the film has genuine suspense and gross-out thrills.
Anthony Hopkins reprises his role as Hannibal, the cannibalistic serial killer, and he is clearly having fun. Unlike the first film, "Hannibal" begins with the title character free and living the good life in Italy. Julianne Moore replaces Jodie Foster in the pivotal role of FBI agent Clarice Starling, who hunts for Hannibal (and, I might add, she's quite good in the role).
But Hannibal is also being hunted by the agents of Mason Verger, a "reformed" child molester who was repulsively mutilated by Hannibal and who wants revenge. Gary Oldman clearly relishes this outrageous role, and the make-up effects for this character are truly spellbinding. Verger's fiendish plans for Hannibal involve a herd of man-eating pigs. Add to the mix Giancarlo Giannini as an avaricious Italian cop on Hannibal's trail and Ray Liotta as Starling's sleazeball colleague, and you have a truly Jerry Springer-ish collection of oddballs.
Some bemoaned the film's gore, but I found "Hannibal" to be an outrageous good time. In fact, the violence is so absurdly baroque that it is funny--"Hannibal" plays almost like a coolly intelligent spoof of "splatter" films. And the exquisite musical score and locales add to the filmgoer's pleasure quotient.
No, "Hannibal" is not in the same league as "The Silence of the Lambs," which is a true landmark of horror and suspense cinema. But this film is a unique thrill ride of its own.
3523795
In their novel Supernaturalz: Weird, Creepy and Random, Ben Parris and William Freedman create an absurdist interpretation of the horror genre, blending the mystical with the tangible and pushing the boundaries of the imagination.

Set against the backdrop of a supernaturally haunted house, this novel is prepared to satisfy its readers from the onset. With a blend of colorful characters  not the least of which are a gang of unruly, defiant girls named the Garter Snake Gang and a vengeful, time-defying warrior goddess named Kali  Supernaturalz promises surprises at every turn. A gritty dialogue and building tension create the perfect atmosphere to unravel the deepest, basest violent urges within these protagonists. Filled with the grotesque, the unsightly, and the horrid, this book asks: Who will survive Kalis quest for domination? Can these girls trust not only each other, but also themselves?

A thriller, leaving you constantly at the edge of your seat, this novel is sure to please lovers of horror, mystery, and suspense. Based on personal experience, I will echo the advice given by Kevin Sean Michaels in the Forward: whatever you do, read this novel with the lights on.
2675350
Sexy cool psycho thriller with excellent performances by headliners AnnaLynne McCord as sadistic Sadie, Billy Zane as two-timing Kevin and Viva Bianca as Jennifer, who just wants to have a good time.

Fantastic fun.
3768557
If anything, I enjoy the audacity and manic creativity of this 1999 black comedy more now than when it was first released. Screenwriter Charlie Kaufman, who sends up the creative block he experienced after writing the film's script in 2002's "Adaptation", plainly refuses to use any accepted cinematic convention to tell the wildly eccentric story of Craig Schwartz, a downtrodden puppeteer who has a must-be-seen-to-be-believed adventure. An uncompromising artiste who cannot find work within his craft, he decides to accept a job as a file clerk to please his frumpy, animal-loving wife, Lotte. Things immediately go awry when he sees his place of employment is on the dwarf-sized 7 1/2th floor of a Manhattan office building. He becomes drawn to an ice-cold co-worker, an apparent femme fatale named Maxine, but the story really escalates into high gear when he discovers a secret passageway that turns out to be the consciousness of actor John Malkovich.

The plot convolutions only get weirder yet strangely more resonant as Craig and others get to experience "being John Malkovich", including the actor himself. What subsequently happens is constantly off-kilter, but Kaufman brings perceptive insight into all the major characters in ways that are completely unpredictable. The beauty is that repeated viewings only bring out plot nuances that were not as apparent the previous times. Director (and sometime actor) Spike Jonze is an inspired choice to lead the proceedings since he lends an almost verit-style to the film making the lunacy seem human-sized. Casting is pure gold with a bedraggled-looking John Cusack appropriately awestruck as Craig, a cast-against-type Cameron Diaz energized by her curiosity as Lotte and Catherine Keener sharply feline as Maxine. Orson Bean brings out all the eccentricities of Craig's oddly deranged boss, and no one is better cast than Malkovich as a wildly narcissistic version of himself, especially as the plot spins further into a Freudian fantasy of monstrous proportions.

This is wildly inventive filmmaking that may alienate several viewers, but it really should be embraced as the kind of bold experimentation that mainstream Hollywood rarely attempts. The 2002 DVD extras are also pure gold, including an interview with Jones conducted under mock-stress; a brief featurette, "An Intimate Portrait of the Art of Puppeteering," that spotlights the behind-the-scenes work performed by puppet master Phil Huber; and a short called "Intimate Portrait of the Art of Background Driving", which purportedly documents the experiences of extras driving cars in the New Jersey Turnpike scenes where all of the Malkovich travelers end up. Along with the original theatrical trailer and several TV promotional spots, there are also two played-straight videos, excerpts of which are shown in the film - one the "7  Floor Orientation" and the other the vaunted pseudo-documentary, "American Arts and Culture Presents: John Horatio Malkovich, Dance of Despair and Disillusionment". A genuinely entertaining package overall.
336469
The young Ryan Gosling and Richard Pitt make all the difference in a film headlined by Sandra Bullock.  Playing the characters of Richard and Justin, two troubled teens of opposite social circles, the psychopathic duo philosophize the justification of a short but effective serial killer career.  Sandra Bullock as the investigating detective almost takes a backseat to the dynamics of Gosling and Pitt who attempt to counter forensic techniques with shrewd and evil methods.
Watching the characters of the suave and arrogant Richard together with the introverted yet brilliant Justin scheming against investigating authorities makes the film all worthwhile.  One almost wants to see how far the pair can proceed with their evil doings in this combat of minds against the police.  But just like  any true serial killer's "M.O", we want them to be caught, and here is where the themes collide to make the story interesting.
Sandra Bullock's character is also one of interest, as she plays a former victim-turned-detective with a masochistic preference for relationships.  Ben Chaplin gives some balance as her partner, in more than one way, but again it's high schoolers Richard and Justin who make the film move.  I will be curious to see the next roles Ryan Gosling and Richard Pitt play, but for now watch Murder By Numbers for its general appeal as a criminal psychology thriller.
4772148
I devoured Totally Killer in a couple of evenings, and I thoroughly enjoyed it both as a thriller and as a darkly comic rendering of New York in the early 90's.  A lot of the things I loved about it have already been touched on by other reviewers, but I wanted to add that I really dug the conspiracy stuff.  As a fan of Pynchon and Robert Anton Wilson, I'm a sucker for novels that delve in that territory.  And the great thing about Totally Killer--as opposed to say, Gravity's Rainbow or The Illuminatus Trilogy--is that you CAN finish it in a couple of evenings and at the end of it you'll even know what happened.

Also I was particularly taken with the character of Taylor Schmidt, a clever, unexpected spin on the classic femme fatale.  When they start casting for the Totally Killer movie, hot young actresses will be lining up around the block to play this role.

Highly recommended if you like your thrillers smart, edgy and funny as heck.
1845594
This film is a unique blend of genuine horror and comedy.  It starts out quite funny as a pair of quarreling brothers scheme to collect a ransom from a thug by kidnapping his stripper stepdaughter.  It is a classic bumbling caper in an unexpected horror setting.  Every character made me laugh: the wuss momma's boy, the hard*ss brother, the hapless accomplice, the kick*ss & foul mouthed kidnapee, the towns folk and even the thugs sent by the kingpin.  Nothing goes as expected and I loved that!  British horror is becoming my favorite in this genre.

Once the town secret is discovered, all heck breaks loose and the movie turns into a serious horrorfest fast.  I especially liked that they made all the bits and pieces fit together.  The stellar conclusion made this movie a treat from beginning to end.

My advice: watch this movie but don't read too many details, it will ruin the overall experience that is 'The Cottage."
3979330
"Devil Music" is a really entertaining read. Orosz's characters are rich, flaws and all, and this book combines many of my favorite genres - urban fantasy, mystery, the 80's LA music club scene, the supernatural world of magician's, and a psychological thriller with a serial killer, all blended in a coherent readable style. And with a touch of wry humor here and there. Not all is roses in this world though. There is a dark side that runs through the book but doesn't overwhelm the story. It is also about slavery, the struggle between good and evil, and the gray area in between. Cain, the demon lead character with a gentle heart, has been enslaved by Mr. Warwick, the dark magician in the story and forced via dog collar to do his bidding and serve  he and his family.
Mr. Warwick sends Cain to LA to persuade Michelle to return to his son Lance who is in love with her. She doesn't love him back. Along the way Cain and Michelle become lovers, a serial killer preys on members of the LA music scene, and Cain manages to escape. I won't spoil it for you, you'll have to read it yourself. Right from the beginning there is enough action, mystery and magic to keep you turning the pages. I hope to read more by this author.
One side note: IMHO, I think illustrations really bring characters to life, so I was happy when I saw the author's website - they used a professional illustrator to make comic book pages from the story. It was fun to compare what I saw the characters look like in my mind while reading, then compare them to what the professional illustrator thought they looked like.
3180002
I remember when "American Psycho" came out on DVD.  I was in fourth grade, and not a huge fan of horror movies.  I instantly decided that I would never watch the film, because it looked like a stupid slasher flick.  Then, a few months ago, I saw Christian Bale in "Batman Begins" and thought he was fantastic.  I looked up "American Psycho" on the IMDb and it was rated pretty high.  So I thought, what the hey, I'll give it a try.

I'm mighty glad that I did.

"American Psycho" is set in New York in 1987.  It revolves around Patrick Bateman (played by Christian Bale), a very successful lawyer who may be getting married to Evelyn (Reese Witherspoon), is having an affair with Courtney (Samantha Mathis), and is the object of his secretary's (Chloe Sevigny) affections.  But unbeknownst to his so-called "friends" and co-workers, Patrick is a killer who strikes almost at random.  And now a clever detective (Willem Dafoe) is investigating the murder of one of Patrick's victims.  Will Patrick get caught?

The film is adapted from Bret Easton Ellis' bestselling novel, which caused quite a controversy when it was first released.  "American Psycho" the film, like the book, is about two things: one, Patrick Bateman and the murders; and two, the self-absorbed society of the 80's.  Because it's set in the 80's, it has a great soundtrack, and it makes the movie much more fun.

Mary Harron's directing is wonderful.  During daytime scenes, the film seems bright and shiny, almost as though it were an adaptation of a Jane Austen novel.  Then there's the nighttime scenes - dark, grim, with a texture like charcoal.  Harron enhances the film immensely.

Without a doubt, the highlight of the film is Christian Bale.  Bale's performance in this film is one of the greatest I have ever seen in my life.  He BECOMES the character.  It blew me away.  He can be mean, angry, suave, and damn funny.  The rest of the cast is good, but Bale is absolutely spectacular.

While I can't recommend this film to everybody, I would suggest that if you don't mind the occasional blood and are looking for a humorous film, pick this one up.  Entertaining, dramatic, absorbing, funny, well-made, and with a terrific ending.  "American Psycho" is without a doubt one of the year's best.
3955358
Amazingly enough Quentin Tarantino's (Reservoir Dogs, Pulp Fiction) stupendously enigmatic Jackie Brown constantly mesmerizes, habitually amuses, and solitarily overwhelms its audience with Tarantino's sheer focused manipulation of the aesthetic, dramatic, and artistic. Starring Pam Greer (Jackie Brown) in a career defining moment (akin to John Travolta's revival role in Pulp Fiction) along with an all-star cast including Robert De Niro, Samuel L. Jackson, Michael Keaton, Robert Forster, Bridget Fonda, Michael Bowen, and Chris Tucker. The film's bristles with outstandingly versatile performances, intensely creative plays on Tarantino's patented formula, and a newfound narrative looseness not quite found in his previous work. Again it appears Tarantino can do no wrong as he cinematically adapts Elmore Leonard's Rum Punch for the screen.
Containing all the trademark Tarantino pop-culture references, sardonically catchy dialogue, blatantly shocking imagery, terrifically dynamite performances, and an chronologically disrupted narrative, Jackie Brown follows the tale of a down and out airline stewardess who inexplicitly finds herself involved in Ordell Robbie's (Samuel L. Jackson, again in fine form) criminal gun-running enterprise and ATF agent Ray Nicolette's (Michael Keaton also in great form) law enforcement operation. Caught in between possible incarceration on one side and assassination on the other, Jackie concocts a devious ploy upon criminal greed and law enforcement single-mindedness by working both fronts hopefully unearthing a way to get herself out this mess without alarming either side.
Pam Grier, having her first leading role in years, radiantly shines as the quirky fiendishly no-nonsense middle-aged broad mastermind willing to do almost anything to stop herself from starting over. Jackie may no longer be a spring chicken or startling beauty but she still has the mental scruples necessary to stay alive, and Greer articulates this massively sympathetic character at the jugular of the audience's sensibilities. Greer's Jackie Brown is a liberated woman in a keenly realized modern setting who questionably tries to the traverse the Tarantino-brick road of unpredictability with hilariously provocative results.
Lavishly laced with a host of remarkably enduring criminal personalities including Jackson's passably intelligent criminally deprecating Small Arms dealer, De Niro's recently released seemingly happy-go-lucky ex-con who appears to have
misplaced a lot more than years from his life at prison, Bridget Fonda's ditsy pot-chugging rent-a-broad who's more intelligent and self-serving than those around her realize, and Chris Tucker's exceedingly self-centered chatterbox in a jam of his own creation, Jackie Brown abruptly and consistently unshackles it's bewildering stock of neurotically inspired characters on a dramatic rampage that ceaselessly astounds me with it's casts acting chomps and inventive flexibility.
Towering with imposingly notable roles by almost every character, an immediately decipherable artistic narrative tenderness, and a suitably fitting thematically cohesiveness without all of his previous bombast, Jackie Brown represents a new mature level of filmmaking for Tarantino as he continues to let lose creativity on all facets and impress the masses with this deceptively simple crime tale that eludes to a lot more impressive talent and an ever growing intellect than one might have initially thought. Yet in the end, Jackie Brown will stand out as another phenomenal Tarantino character canvas of modern America that is more enthralling on every visceral level than a movie should be without coping out in the least.
A MUST FOR ANY FAN OF THE MOVIES
Gosh, I hope they release this out on DVD before I become a member AARP.
1754891
This book is not what I anticipated. The description for the Kindle Book Of The Month selection lead me to believe I would be delving into an almost detective-style mystery thriller, when in reality, this is decidedly a deeply dark psychological mind-muddler with a strong element of horror. *** SPOILER ALERT BUT ALSO TRIGGER WARNING: This book is definitely for adults: it contains violence towards people and animals and scenes of abuse and rape as well as strong language.***

I won't go much into the plot or overall merit of the writer's work, as that is fairly well covered by other reviewers, but I will say the author did successfully achieve what it seems she set out to: the book was unsettling and left me feeling sort of crazy. I couldn't put it down because I felt I could not leave things off at the dark point I last left them. This meant reading through the night because honestly I was too disturbed to go to sleep without reaching a satisfying conclusion to this dark work. Again, that all should serve as accolade to author Eriksson's ability to create an alarming mind-scape for her reader.

At the same time, I can't say this was a pleasant or particularly enjoyable read. I don't think all books have to be. The author wrote well and created a very emotionally tangible work, and this particular story does not contain much positive emotion. It really depends on the individual reader whether this piece will be a winner or something you can certainly appreciate but would rather not. In my case, if I had to choose again, it would not be my pick. That is my fault: I let myself expect something different. This novel does not request suspension of disbelief but rather creates an unreliable narrator who constantly blurs the line between reality and nightmare. The main character's psychosis wears at a sensitive reader.

While the end mercifully offers some comfort in clarity and resolution, and there are positive lessons to be learned from reading this story (I especially liked the very relatable love of the main character's mother for her broken child), I cannot say I would recommend it unless you are particularly comfortable with delving into the demented mind of an abuse victim who is also a pathological liar with a poor grasp of reality.

Please note my review in no way is meant to criticise Caroline Eriksson's writing, which was effective, ensnaring, and startlingly emotional. It is just not for all readers.
4425415
** spoiler alert ** This is a fantastic, taut, psychological thriller.

There is a serial killer out there doing terrible, unspeakable things. The FBI calls him Buffalo Bill.
Am FBI trainee is sent to interview Hannibal Lecter and the renowned serial killer himself uses the opportunity to insert himself in the case. He knows who Bill is, but he has been held for years and is more or less bored. He decided to play with the young Starling, offer pieces of information and clues. Sending his own little mouse thru a maze.

Then egos arise and Lecters captor, Dr. Chilton, ruins everything. He wants credit for the apprehension of Bill, whose most recent abductee is the daughter of a US Senator. Chilton wants the glory and favors a Senator can provide. So he moves Lecter from a very secure prison in Baltimore to a temporary jail in Tennessee. Nothing can go wrong with that, except everything.

Along the way Starling is still trying to find the young girl who was kidnapped, Bill is preparing to harvest, Crawford is dealing with a dying wife and the law enforcement bureaucracy threatens to ruin everything.

Yes, there is a film made from this book. The film is very faithful to the book, which is why the film was so well received. Its a lesson to Hollywood that they keep ignoring, if you are faithful to the source material you usually succeed.

(from my Goodreads review)
2039019
What is this film that's so difficult to stick a label onto? Is it a thriller? A mystery, a romance, horror, social commentary...? I think I'd call it a thriller with a heart and soul, and it all begins with a hotel clerk finding a human heart stuck in an overflowing toilet.
The setting is London, the characters are primarily illegal immigrants trying to stay one step ahead of deportation. Some of them are so desperate to get legal that they're willing to trade their body parts for a passport. Okwe, the hotel clerk, was a doctor in Nigeria before some secret that's not revealed till the end of the film forced him to flee. Shenay, Audrey Tatou (she of Amelie fame), is a Turkish maid at the hotel and Okwe's friend. There's a rogue of a doorman who is an opportunist with a good heart; there's a hooker with an even better heart; and there's without a doubt the best villain ever created, Juan, the manager of the hotel. He doesn't have a moustache, but he's so slick and smarmy and smiling that you can just see him in a top hat, twirling his moustache and plotting the maiden's downfall in return for her virtue.
Ordered by Juan to ignore the disembodied heart, Okwe does the opposite: he digs into the soft and smelly underbelly of blackmarket body organ trafficking. And when desperate Shenay appears to be headed down that road, things get really, really, really interesting, complete with quirky, brilliant denouement.
You'll love it.
1084217
Bloody Mary by J.A. Konrath follows the continuing exploits of homicide detective Lt. Jacqueline Daniels. First introduced in Konrath's spectacular debut "Whiskey Sour", this novel contiues the trend of gore, thrills, and laughs. One might say this is a thrigoromedy!

In Jack's latest outing she is hot on the trail of a new serial killer who makes The Gingerbread Man from Whiskey seem like a daycare provider.

The acts of violence are vile, disgusting and borderline on mysogynistic as woman after woman is slaughtered heinously and the personal effects of Chicago's finest are left on the bodies of the victims.

As the clues of the killers indentity pile up Jack begins to realize that she may be the ultimate target and a daring game of cat and mouse ensues.

Konrath weaves spells with words, his writing is crisp, fast and clever and a healthy dose of comedy breaks up this procedural rather nicely.

In his second outing Konrath loses a bit of the steam so prevelant in his freshman novel. Instead of elevating the story-telling he falls prey to the cliche` niche that most horror movies fall into. A higher body count, more blood and less substance.

Don't get me wrong, Bloody Mary is still a fun read that keeps you hooked from the opening page to the finale which comes way too fast.

What starts as a whodunnit slowly gives way to a formulaic police procedural and tosses in a dash of medical thriller while elements of horror are prevalent in the mix.

Overall Konrath will go far with this character and I will continue buying his work.

Bring on Rusty Nail!