China, Later Tang Dynasty, 10th Century. On the eve of the Chong Yang Festival, golden flowers fill the Imperial Palace. The Emperor (Chow Yun Fat) returns unexpectedly with his second son, Prince Jai (Jay Chou). His pretext is to celebrate the holiday with his family, but given the chilled relations between the Emperor and the ailing Empress (Gong Li), this seems disingenuous. For many years, the Empress and Crown Prince Wan (Liu Ye), her stepson, have had an illicit liaison. Feeling trapped, Prince Wan dreams of escaping the palace with his secret love Chan (Li Man), the Imperial Doctor’s daughter. Meanwhile, Prince Jai, the faithful son, grows worried over the Empress’s health and her obsession with golden chrysanthemums. Could she be headed down an ominous path? The Emperor harbors equally clandestine plans; the Imperial Doctor (Ni Dahong) is the only one privy to his machinations. When the Emperor senses a looming threat, he relocates the doctor’s family from the Palace to a remote area. While they are en route, mysterious assassins attack them. Chan and her mother, Jiang Shi (Chen Jin) are forced back to the palace. Their return sets off a tumultuous sequence of dark surprises. Amid the glamour and grandeur of the festival, ugly secrets are revealed. As the Imperial Family continues its elaborate charade in a palatial setting, thousands of golden armored warriors charge the palace. Who is behind this brutal rebellion? Where do Prince Jai’s loyalties lie? Between love and desire, is there a final winner? Against a moonlit night, thousands of chrysanthemum blossoms are trampled as blood spills across the Imperial Palace. Written by Sony Pictures Classics

Unfortunately the San Diego press wasn’t offered the opportunity to view the film in the IMAX format, but I can say the 3-D digital version screened for the media in my area (and on which I’m basing my review) was beyond gorgeous. 3-D’s never been one of my personal favorite formats, but Robert Zemeckis’ spectacular achievements have turned me into a real believer in the beauty of performance capture and 3-D.

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With an epic-sized budget and featuring some serious eye candy, “Troy” hits theaters with a lot of expectations to live up to, not the least of which is whether or not today’s audience will relate to the story. That issue - the relevance of Homer’s “The Iliad” in today’s world - is addressed pretty much immediately. Boiled down to its basics, “Troy” is a love story immersed in a world of burly men battling to restore their King’s wounded pride while capturing more land for their country to rule, set in a time when the world was run by men who worshiped mythic Gods such as Apollo and Zeus. That’s an easy enough story for contemporary moviegoers to get into. So fear not, if you can’t recall which Greek God is which, you won’t feel lost in the world of “Troy.”

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“Two Knights…Two Horses…Two Pieces of Sharp Lumber…
But, Only One Chick…Do the Math”

Backed by the throbbing sound of Queen’s “We Will Rock You,” “A Knight’s Tale” opens by immediately letting you know, in no uncertain terms, that this is no ordinary tale of jousting and medieval times. Mixing classic rock with medieval stylings, “A Knight’s Tale” is a wild ride that never takes itself seriously. From the booming beat of “The Boys are Back in Town” to the mixture of modern-day and medieval dialogue, “A Knight’s Tale” is pure entertainment.

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Based on the book by the famous Dr. Seuss. Inside a snowflake exists the magical land of Whoville. In Whoville, live the Who’s, an almost mutated sort of munchkinlike people. All the Who’s love Christmas, yet just outside of their beloved Whoville lives the Grinch. The Grinch is a nasty creature that hates Christmas, and plots to steal it away from the Whos which he equally abhors. Yet a small child, Cindy Lou Who, decides to try befriend the Grinch. Written by Filmfreak {webmaster@filmfreak.co.za}

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My Rant:

For my local media screening of “The Village,” an edict was issued from on high (meaning the studio, not our local PR firm) stating online and radio journalists were not allowed to see any of the advanced screenings of M. Night Shyamalan’s newest film until Thursday, July 29th (just half a dozen hours before it actually invaded theaters). Other media people were allowed to see it – TV, print, and so on – days earlier, but not online or radio critics. So what I’m wondering is, what makes a talking head on TV less likely to give away something from the plot than someone who works online or on the radio? What keeps local newspaper reporters from spoiling the story when an online or radio person can’t be trusted to keep the twists a secret? The answer: nothing. Nothing stops those smiling faces on TV from inadvertently blurting out a plot twist. They’ve done it before and you can bet they’ll do it again. Nothing stops a newspaper reporter from putting a line or two they shouldn’t into a review. I’ve read things that made me cringe where journalists have forgotten a plot point wasn’t known by the audience before the last 15 minutes of the movie. It happens all the time.

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