Movie Title: I Am Legend
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“I Am Anecdote” is not a film that sticks closely to it’s source material. While that is it’s biggest flaw, it is also where it shines. If you ha told me two years ago that I’d fetch misty-eyed watching Will Smith convey “Three Tiny Birds” in a mammoth budget motion record I’d have laughed myself funny, but this adaptation of Richard Mathson’s untouchable recent that -while itself being a vampire story- inspired the entire zombie film genre as we know it takes the myth we all know whether we’ve read the book or not and turns it into an exceptionally personal affair for all of us. One man. One dog. A familiar metropolis deserted by day, but crawling with death by nightfall. This is our setting and it’s one that never gets primitive for me.

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The plague that wipes out Robert Neville’s world is never fully explained, simply inferred to be the result of some sort of failed cure for cancer. Gone from the new and the unusual Vincent Note classic, The Last Man on Earth, is the long struggle of Neville to effect his ill daughter, his wife’s tranformation, and the monstrous actions of the US government to enjoy the plague. What it left is simply one man, alone trying to gain his sanity and hopelessly searching for a cure to a disease that has already wiped humanity off the face of the earth and left the “survivors” as rabid vampiric horrors. It’s sunless, it’s pathetic, and it’s perfectly human. Will Smith has a penchant for picking bad, schmaltzy films to star in, but no one can train his talent and charisma as a leading man. Naturally, this is a film he must carry single-handedly and he does an awesome job of it; he’s dramatic, he’s relateable, and at times, he is silly. The humor is that of the dismal and snide kind, but in a world like his, that is all there is left.

The vampires/zombies/infected in this are all CG and more than a bit reminiscent of Gollum from The Lord of the Rings. I’m not a fan of these kind of effects when practical would have been more effective and was acutely aware of the fact that I watching computer-generated monsters, but they worked nonetheless. The infected note to be unsightly foes for Neville to face, combining suprising cunning, inhuman strength, and impossible agility (hence the CG) . Their only weakness is that sunlight kills them almost instantly. Neville plays a game of cat-and-mouse with them, gathering supplies, researching cure, and searching for survivors by day while making determined to bag wait on to his fortified apartment before nightfall when the creatures approach out to hunt for his hiding spot. More than a few shades of 28 Days Later are display in this film, which is humorous considering the book and it’s film offspring are largely what provided the elements of that film. So I guess the genre has officially reach rotund circle now.

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Ultimately, it’s the personal touches that construct “I Am Myth” such a treat. Bob Marley provides both the soundtrack to Robert Neville’s day and the inspiration for his work, which is both ironic and uplifting at times. This may sound outlandish for a awe flick, but if you are a fan of Marley (himself a Chronicle) it makes all the sense in the world as you discover. Watching Neville attempt to interact with mannequins he’s place up as he returns the movies he rents (in alphabetical order, one at a time) and seeing him snap when one of the figures is moved is both silly and, at times, intensely disturbing. When relief finally comes, Neville finds he has lost the ability to interact with other humans at all and is relegated to performing lines from “Shrek”, which is playing on his television at the time. The ending is a complete 180 from the book which is disappointing, but not as corny as it could have been. The modern I Am Account has one of the most incandescent and darkly ironic endings ever attach on paper, but director Francis Lawrence didn’t destroy it by go for the elated ending either. The result is a compromise between the pitch blackness of the book and the cloying cheese that many Will Smith fans fancy. It turns out a bittersweet and hopeful conclsion that should satisfy both while not thrilling either. But I left the theater with “Redemption Song” tranquil ringing in my ears and a gratified feeling. If only every movie could do that for me.

“I Am Memoir” fails to adapt the book of the same name to the mountainous cloak, but succeeds in so many other ways. I can’t give it a perfect glean, but I will give it a very hearty recommendation to fans of Will Smith, zombies, vampires, and Bob Marley. Luxuriate In.

I Am Tale can’t derive a stunning shake. This Will Smith-led production is the third attempt Hollywood has made to adapt the radiant unusual. None of the adaptions have truly done the original justice (which is a shame), but this version has approach the closest.

Here we have a vivid beginning; footage of a scientist (played beautifully by Emma Thompson) saying humbly that she’s discovered a diagram to cure cancer. Mercurial forward a few years, and Unusual York is utterly devoid of human life, place for Robert Neville (Will Smith) . As the first half of the film progresses, we learn about his meager living, spending the day harvesting and trying to peek a cure, even now, while spending the night huddled in his protected home as creatures prowl.

His only companion, a improbable dog named Sam, protects Neville as Neville protects him. They have a friendship based on loneliness and the human need for someone or something to have onto. Sam is Neville’s only connection to the past and the only plan to characterize what miniature humanity is left, either in the world or Neville himself. This period in the movie is pitch perfect, puncuated by one or two evil sequences that instill wonderful fright.

Unfortunately, the last half of the film deteriorates into an action movie that completely changes the meaning of the words “I Am Chronicle.” Don’t earn me wicked, it’s mostly done really well. Constantine director Francis Lawrence has a grand handle on the action and delivers some grand scenes. But, it becomes muddled and veers off completely from the unusual. My biggest complaint, though, is the exhaust of CGI. Instead of using proper flesh and blood actors, all of the creatures are created with CG and they explore incredibly spurious when lined up next to sincere people. In the beginning, it’s not a jam but as you gaze more of them (and you will) it’s glaringly clear. And annoying.

All of this I was expecting going in, though. Considering that the film was co-written by Akiva Goldsman who also wrote I, Robot, I knew this version would stray from the source material unbiased as I, Robot did. As a movie, it’s genuinely thrilling and creates the perfect balance of tension and action through most of its entirety. And, surprisingly, Will Smith shows that he’s a really marvelous actor as he has to not only tackle many conflicting emotions during the two hour rush time but he also has to do so without having distinguished of anyone to react to. Spending a honorable hour or so without another single actor for Will Smith to work with was a gamble and it paid off.

Your enjoyment of the film is entirely based on what you bring to the table. If you’re coming to this film expecting to gawk the book approach to life you’ll be sorely disappointed. However, if you’re looking for a edifying action movie that actually has a obliging account and a human aspect, you’ll be hard-pressed to collect one as thrilling recently.
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Helen Mirren is Detective Chief Inspector Jane Tennison in the fifth of the series Prime Suspect that aired on PBS in January, 1992. Having been demoted and transferred to the north, D.C.I. Tennison finds herself under-used until she gets a case where a 12-year-old-boy confesses to murder.

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As Ryo learns more about her late father, she regains her belief in his integrity, which strengthens her commitment to baseball. Meanwhile, the mousy Kanako persuades her father, the principal of Kisaragi High, to keep the girls’ team, and Coach Kido packs his charges off to an intensive training camp. Ryo should be on cloud nine when the dashing Takasugi announces he loves her and presents her with a medal as a good-luck charm. Although he thinks of Izumi “like a younger sister,” she is furiously jealous and sets out to end the budding romance–all of which causes problems for the team. Director Tomiko Mochizuki uses restraint and taste to keep these complications from degenerating into a soap opera. The characters remain believable high school students, with strong vocal performances distinguishing the team members. Rated 12 Up, but suitable for younger viewers; alcohol use, minor profanity. –Charles Solomon

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Upon its release in 1948, Drunken Angel was hailed in Japan as Akira Kurosawa’s directorial breakthrough, comparable to Kubrick’s Paths of Glory in the way it catapulted Kurosawa into a higher level of artistic achievement. Kurosawa himself noted, “In this picture I was finally myself. It was my picture. I was doing it and nobody else.”

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When a troubled young woman strikes a bicycle delivery boy named Mao with a brick, this violent chance encounter sets in motion Mao’s discovery of a long-lost childhood friend and their lost innocence. Mao discovers the young woman’s diary, which describes how all the crucial moments of her life have been bound up in movies: She was born at a movie screening, became best friends with a boy at another, and experiences a terrible trauma at another–all of which has led her to a strange secret life that Mao realizes he can set right. Electric Shadows depends upon an improbable coincidence, yet the compelling story lures you to accept it. Movies about a cinema-crazed childhood are prone to be a little sappy, but Electric Shadows presents a multilayered vision of the pain, delight, and chaotic confusion of childhood; the combination achieves a rare and compelling balance, building to a sweet conclusion that’s been richly earned. Though it’s been compared to the sentimental favorite Cinema Paradiso, Electric Shadows–the debut feature of director Xiao Jiang–has more in common with the honesty and directness of another debut feature, Francois Truffaut’s The 400 Blows. –Bret Fetzer

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