DVDpedia : Library : Title : K

Theatrical: 2002

Studio: New Films International

Genre: Action & Adventure

Duration: 138

Summary: Based on an incident that was officially suppressed for 28 years, "K-19: The Widowmaker" is a fine addition to the "sub-genre" of submarine thrillers. The first major American film about Russian cold war heroes, it re-creates the nightmare endured in 1961 by the crew of the Soviet nuclear submarine "K-19", when an exposed reactor core nearly resulted in a nuclear catastrophe. Several crewmen died, and "K-19"'s captain (played by Harrison Ford) had to assert his command when near-mutiny favored his executive officer (Liam Neeson). This escalating tension gives the film its potent dramatic thrust, and both Ford and Neeson deliver intense performances while director Kathryn Bigelow ("Near Dark", "Strange Days") ably controls a sub full of seething testosterone. It's not as viscerally thrilling as the classic "Das Boot" or "U-571", and some "K-19" survivors protested the inclusion of inauthentic drinking scenes, but the movie benefits from grand-scale production values, seamless computer graphics, and a compelling real-life twist. "--Jeff Shannon"

Theatrical: 2001

Studio: Universal Studios

Genre: Drama

Duration: 120

Summary: AN AMUSING STORY OF A MYSTERIOUS STRANGER WHO DEFIESCONVENTION, PUZZLES THE EXPERTS, AND LEAVES EVERYONE GUESSING RIGHT UP TO THE END.

Theatrical: 2003

Studio: Paramount

Genre: Action & Adventure

Duration: 60

Summary: Add "Keen Eddie" to the long list of unique TV shows that never clicked with a mainstream following--but which found a small but devoted fan base, for whom this DVD set is a gift from above. New York cop Eddie Arlette (pugnaciously good-looking Mark Valley) fumbles a major drug bust and gets sent to London to mop up the mess he's made. But Eddie's New York attitude proves a successful addition to Scotland Yard, so ambitious Superintendent Johnson (Colin Salmon, "Prime Suspect 2") decides to keep Eddie on the team--which suits his new partner, neurotic swinger Monty Pippin (Julian Rhind-Tutt, BBC miniseries "Reckless") but infuriates Eddie's accidental flatmate, the luscious, tempestuous, and frequently scantily clad Fiona (Sienna Miller).
Individual shows follow self-contained investigations (like a stolen race-horse, a casino robbed by guys in Duran Duran masks, a school hazing gone too far, or a kidnapping by a French mob boss with an astrology obsession), while the rising sparks between Eddie and Fiona can be charted across the 13 episodes (which are presented in order of airdate, not the sequence in which they were created; the ideal sequence can be learned from various fan Web sites). "Keen Eddie"'s quirky, syncopated rhythm can sometimes feel a little forced and the visual flash and rapid-fire editing owe a lot to the movies of Guy Ritchie ("Snatch"), but the result was nonetheless a distinctive show that deserved more of an audience than it got. This boxed set should give "Keen Eddie" a second chance. "--Bret Fetzer"

Theatrical: 2010

Studio: Lions Gate

Genre: Action & Adventure

Duration: 117

Summary: The cinematic equivalent of a half case of Red Bull chased with donuts, Kick-Ass is a giddy, violent experience--and not your average superhero movie. Based on the comic book by Mark Millar and John Romita Jr., it offers a set of heroes who are decidedly without superpowers: Dave Lizewski (Aaron Johnson) decides he'll be just like a comic-book character, and puts on a ridiculous green suit to fight crime as the mysterious Kick-Ass. Luckily, somebody else had the same idea and comes along to rescue the incompetent crusader: Big Daddy (Nicolas Cage) and his daughter Hit Girl (Chloe Moretz), who also happen to be running around town wearing masks and vanquishing evil. And here we have the movie's masterstroke: Hit Girl, a pint-sized preteen who slaughters bad guys and swears like a sailor on leave (and was the focus of a measure of controversy when the movie was released). The main target of our heroes is a gangster (Mark Strong, Sherlock Holmes), whose neglected son (Christopher Mintz-Plasse, McLovin from Superbad) figures he might just pull on a costume himself and become… Red Mist! (One of the many funny things about Kick-Ass is that the superhero names are hopelessly lame.) Director Matthew Vaughn is operating at the same glib level as his Layer Cake, with cutesy song cues galore and a freewheeling appetite for cartoon violence. This means the movie's high wears off quickly, but it does get high--a crazy, hilarious (and by the way: decidedly R-rated) kick. All that, plus Nicolas Cage executes a deadly Adam West imitation when he pulls on his cape and cowl. That's entertainment. --Robert Horton

Stills from Kick-Ass (Click for larger image)

Theatrical: 1996

Studio: Paramount

Genre: Comedy

Duration: 88

Summary: Moviegoers never caught on to its brilliance, but "Brain Candy" is a smart, outrageously inventive vehicle for Canada's most irreverent comedy troupe. The subtly subversive plot is about society's ongoing search for the perfect "happy drug," and the Kids inhabit a multitude of costumes and characters as they celebrate--and lament--the invention of "Gleemonex," the ultimate antidepressant, which locks users into their happiest memories... and subsequently renders them comatose. No worries for the Roritor Chemical Company; they don't care much about side effects! With rampant riffs on heavy-metal doomsayers, closeted gay husbands (resulting in Scott Thompson's hilarious coming-out musical), blissed-out grandmothers, and all varieties of corporate greed-mongers, "Brain Candy" is almost too hip for its own good, combining Pythonesque ingenuity with cutting social satire. As a comedic experiment it's hit-and-miss, but with the cross-dressing Kids running the show, it's likely to leave you laughing out loud. "--Jeff Shannon"

Theatrical:

Studio: Genius Products / Weinstein Company

Genre: Action & Adventure

Duration: 247

Summary: "There are consequences to breaking the heart of a murdering bastard."-Bill

Yeah, well there are similiar consequences to shooting the world's greatest assassin in the head at her wedding rehearsal without finishing the job, as Bill and his crew of murderers find out. Finally we get the real uncut, spruced up, reconfigured, and awesome martial arts masterwork from Quentin Tarantino as it oughtta be seen. Don't get me wrong, I LOVED the original cut(s) of the films and nobody does out-of-sequence storytelling better than Tarantino, but seeing the saga's two parts melded into one cohesive, linear story promises to be a real treat for those of us who can't get enough of Uma Thurman as a murderous assassin (known by many names but usually referred to as "The Bride") and her gore-filled quest for vengeance. "Kill Bill: Volume 1" was an awesomely gory extravaganza of excess, action, violence, and homages to Japanese cinema. "Volume 2" was an entirely different creature, favoring acting over action and fleshing out the world and the characters living in it with scenes straight out of westerns, a discussion about comics, the madatory strip club, a suprisingly low-key final confrontation, and plenty of the kind of dialogue you only hear in a Tarantino flick. Fusing the two into a single entity is something I've pondered with much excitement since the day I last walked out of the theater when "Volume 2" opened. Due to certain "problems" with Miramax's parent company, this cut was shelved for years and the planned theatrical run was killed. What makes "Kill Bill" such a one-of-a-kind experience is the unique blending of all of the things we film geeks love: samurai swords, gallows humor, yakuza gangs (namely the "Crazy 88's", named not because there are 88 of them, but because it sounds cool), kung-fu masters with long beards, stark horror (check out the burial scene straight out of a Wes Craven flick), femme fatales, pimps, and Samuel L Jackson (as a blind pianist) for starters. There is even an anime segment that is so brutal and harsh that it makes the stylized live-action violence that follows seem cartoonish by comparison. Then, of course, there is the vengeance; sweet, sweet revenge. All that is just a sampling of what this film offers. And let us not forget the soundtrack, a cornerstone of any Tarantino product. Where else could Uma Thurman cut down scores of yakuza ninja to the sounds of Motown after calling out their leader as a Native-American war chant sounds? There's also Johnny Cash (always in style), a Japanese all-girl rockabilly trio, and a whistled ditty that will stick in your head for weeks. Tarantino even lifted the theme song from the film he pilfered the most from (the legendary "Lady Snowblood") to really put us into the genre. The RZA, who has since become THE name in Asian-American crossover film scoring, proves an excellent collaberator and treats us to the best theme song this side of "Shaft" for yakuza boss O-Ren Ishii. No expense was spared to put us into the world of the genres Tarantino loves; and you can tell he wants us to love them as well. Nobody does soundtracks better, period. The standout performances are too numerous to mention, but major cred points to Quentin for bringing in the legendary Sonny Chiba for a brillaint role as a swordmaker, and Chiaki Kuriyama of "Battle Royale" fame who engages Uma Thurman in one of the greatest duels I've ever witnessed. This new cut promises to incorporate the small things we Americans missed out on the first time, including an entirely full-color version of the epic "Showdown at the House of Blue Leaves" (though the black-and-white segment was so classically cool, one would think it was a creative decision) among other things. So yeah, you could say I've been looking forward to this cut....for years....many long, long years. Whether or not it's a major improvement will have to wait and be seen, but I can assure you it will be a new way to see an already unbelievable filming accomplishment that I never could get enough of.

Theatrical: 2008

Studio: Genius Entertainment

Genre: Mystery & Suspense

Duration: 93

Summary: In this highly charged, psychological thrill ride four strangers are recruited as volunteers in a scientific research study. But they soon find that they are pawns in a classified government program to determine the breaking point of the human mind. As the experiments are conducted with each unwilling participant, the sterile white room becomes a horrible nightmare where the endgame is survival itself.

Theatrical: 2005

Studio: Universal

Genre: Action & Adventure

Duration: 187

Summary: Movies don't come any bigger than Peter Jackson's "King Kong", a three-hour remake of the 1933 classic that marries breathtaking visual prowess with a surprising emotional depth. Expanding on the original story of the blonde beauty and the beast who falls for her, Jackson creates a movie spectacle that matches his "Lord of the Rings" films and even at times evokes their fantasy world while celebrating the glory of '30s Hollywood. Naomi Watts stars as Ann Darrow, a vaudeville actress down on her luck in Depression-era New York until manic filmmaker Carl Denham (a game but miscast Jack Black) entices her with a lead role. Dazzled by the genius of screenwriter Jack Driscoll (Adrien Brody), Ann boards the tramp steamer S.S. "Venture", which she--and most of the wary crew--believes is headed for Singapore. Denham, however, is in search of the mythic Skull Island, hoping to capture its wonders on film and make a fortune. What he didn't count on were some scary natives who find that the comely Darrow looks like prime sacrifice material for a mysterious giant creature....
There's no point in rehashing the entire plot, as every movie aficionado is more than familiar with the trajectory of "King Kong"; the challenge facing Jackson, his screenwriters, and the phenomenal visual-effects team was to breathe new life into an old, familiar story. To that degree, they achieve what could be best called a qualified success. Though they've assembled a crackerjack supporting cast, including Thomas Kretschmann as the "Venture"'s hard-bitten captain and young Jamie Bell as a plucky crewman, the first third of the movie is rather labored, with too much minute detail given over to sumptuous re-creations of '30s New York and the unexciting initial leg of the "Venture"'s sea voyage. However, once the film finds its way to Skull Island (which bears more than a passing resemblance to "LOTR"'s Mordor), "Kong" turns into a dazzling movie triumph, by turns terrifying and awe-inspiring. The choreography and execution of the action set pieces--including one involving Kong and a trio of Tyrannosaurus Rexes, as well as another that could be charitably described as a bug-phobic's nightmare--is nothing short of landmark filmmaking, and a certain Mr. Spielberg should watch his back, as "Kong" trumps most anything that has come before it.
Despite the visual challenges of "King Kong", the movie's most difficult hurdle is the budding romance between Ann and her simian soulmate. Happily, this is where Jackson unqualifiedly triumphs, as this unorthodox love story is tenderly and humorously drawn, by turns sympathetic and wondrous. Watts, whose accessibility balances out her almost otherworldly loveliness, works wonders with mere glances, and Andy Serkis, who digitally embodies Kong here much as he did Gollum in the "LOTR" films, breathes vibrant life into the giant star of the film without ever overplaying any emotions. The final, tragic act of the film, set mostly atop the Empire State Building, is where "Kong" earns its place in movie history as a work that celebrates both the technical and emotional heights that film can reach. "--Mark Englehart"

Theatrical: 2005

Studio: New Line Home Video

Genre: Comedy

Duration: 95

Summary: Anthony Anderson has built a career by creating likable supporting performances in mediocre movies from "Urban Legends: Final Cut" to "Kangaroo Jack" to "Agent Cody Banks 2: Destination London". So he probably leapt on "King's Ransom" as an opportunity to show his star potential, surrounded by a good cast, including Jay Mohr ("Jerry Maguire"), Nicole Parker ("Soul Food"), Loretta Devine ("Woman Thou Art Loosed"), and Regina Hall ("Scary Movie"). Regrettably, all "King's Ransom" shows is why Anderson ended up in so many mediocre movies in the first place: Poor judgment. This contrived comedy about a business mogul who has himself kidnapped to wriggle out of a divorce settlement--only, what a surprise, his plans go awry and hijinks ensue--is one long series of clumsy, unoriginal, and just unfunny scenes that barely connect into a plot. It's a movie that seems to have been made as a tax write-off. Also featuring Kellita Smith ("The Bernie Mac Show") and Donald Faison ("Scrubs"). "--Bret Fetzer"

Theatrical:

Studio: The Weinstein Company and Anchor Bay Entertainment

Genre:

Duration: 119

Summary: Candidates for president and prime minister choose to run, but kings rarely have a choice. Such was the case for Prince Albert, known by family members as Bertie (Colin Firth), whose stutter made public speaking difficult. Upon the death of his father, George V (Michael Gambon, making the most of a small part), the crown went to Bertie's brother, Edward VIII (Guy Pearce), who abdicated to marry divorcée Wallis Simpson. All the while, Bertie and his wife, Elizabeth (Helena Bonham Carter, excellent), try to find a solution to his stammer. Nothing works until they meet Australian émigré Lionel Logue (Geoffrey Rush), a failed actor operating out of a threadbare office. He believes Bertie's problem stems from emotional rather than physiological issues, leading to a clash of wills that allows the Oscar®-winning Rush ("Shine") and the Oscar-nominated Firth ("A Single Man") to do some of their best work (in a neat bit of casting, Firth's "Pride and Prejudice" costar, Jennifer Ehle, plays Logue's wife). All their efforts, from the tense to the comic--Bertie doesn't stutter when he swears--lead to the speech King George VI must make to the British public on the eve of World War II. At a time when his country needs him the most, he can't afford to fail. As Stephen Frears did in "The Queen", Tom Hooper (HBO's "Elizabeth I") lends vulnerability to a royal figure, showing how isolating that life can be--and how much difference a no-nonsense friend like Logue can make. "--Kathleen C. Fennessy"

Theatrical: 2007

Studio: Universal Studios

Genre: Action & Adventure

Duration: 110

Summary: Set in Saudi Arabia, "The Kingdom" is a political action thriller with good acting and wonderful visuals. Its so-so script, though, at times meanders aimlessly until a good explosion jolts the viewer's attention back to the screen. Jamie Foxx stars as FBI special agent Ronald Fleury, who leads an elite team into Saudi Arabia to find the terrorists who attacked American employees working in the Middle East. He has been given the unlikely deadline of five days to infiltrate the compound, with just his wit and his crew, which includes forensics expert Janet Mayes (Jennifer Garner), explosives guru Grant Sykes (Chris Cooper), and intelligence analyst Adam Leavitt (Jason Bateman). It's unclear how helpful smarmy U.S. diplomat Damon Schmidt (Jeremy Piven) will be, but Fleury knows enough to surmise that the media-hungry Schmidt might not be completely trustworthy. Foxx and Garner have wonderful screen presence, but it's Bateman and Piven who get the best lines. Director Peter Berg peppers "The Kingdom" with actors he has worked with in the past. Berg, who guest-starred on "Alias" opposite Garner, casts Tim McGraw in a small role here. (The country singer also had a co-starring role in Berg's 2004 film "Friday Night Lights".) And Kyle Chandler and Minka Kelly--two of Berg's lead actors from the "Friday Night Lights" television series, , make appearances in "The Kingdom". The action sequences he creates are impressive and generate a sense of panic that "The Kingdom" producer Michael Mann ("Miami Vice") undoubtedly applauds. While a tauter script would've rounded out the action nicely, the action in many cases does speak for itself. "--Jae-Ha Kim"

Theatrical: 2005

Studio: 20th Century Fox

Genre: Action & Adventure

Duration: 144

Summary: It's hard to believe Ridley Scott's handsome epic won't become the cinematic touchstone of the Crusades for years to come. "Kingdom of Heaven" is greater than the sum of its parts, delivering a vital, mostly engrossing tale following Balian (Orlando Bloom), a lonely French blacksmith who discovers he's a noble heir and takes his father's (Liam Neeson) place in the center of the universe circa 1184: Jerusalem. Here, grand battles and backdoor politics are key as Scott and first-time screenwriter William Monahan fashion an excellent storyline to tackle the centuries-long conflict. Two forward-thinking kings, Baldwin (Edward Norton in an uncredited yet substantial role) and Saladin (Ghassan Massoud), hold an uneasy truce between Christians (who hold the city) and Muslims while factions champ at the bit for blood. There are good and evildoers on both sides, with the Knights Templar taking the brunt of the blame; Balian plans to find his soul while protecting Baldwin and the people. The look of the film, as nearly everything is from Scott, is impressive: his CGI-infused battle scenes rival the "LOTR" series and, with cinematographer John Mathieson, create postcard beauty with snowy French forests and the vast desert (filmed in Morocco and Spain). An excellent supporting cast, including Jeremy Irons, Brendan Gleeson, and David Thewlis, also help make the head and heart of the film work. Many critics pointed out that Bloom doesn't have the gravitas of Russell Crowe in the lead (then again, who does?), but it's the underdeveloped character and not the actor that hurts the film and impacts its power. Balian isn't given much more to do than be sullen and give an occasional big speech, alongside his perplexing abilities for warfare tactics and his wandering moral compass (whose sole purpose seems to be to put a love scene in the movie). Note: all the major characters except Neeson's are based on fact, but many are heavily fictionalized. "--Doug Thomas"

Theatrical: 1996

Studio: MGM (Video & DVD)

Genre: Comedy

Duration: 113

Summary: The team behind "Dumb and Dumber" and "There's Something About Mary"--two really stupid, gross-out films that worked and were quite funny--also made this really stupid, gross-out comedy that doesn't work and isn't funny at all. Woody Harrelson stars as a former bowling phenomenon with a hook for a hand, and Randy Quaid is an Amish farmer with a hidden talent for pins. The two join forces and get a sexy business partner (Vanessa Angel), and the film starts looking more and more like a jokey variation of "The Color of Money". "The Color of Money", however, didn't feature jokes about having oral sex with a hideous landlady or defecating in a sink or dragging disgusting stuff out of one's teeth with a length of floss. Bill Murray provides some much-needed relief as Harrelson's ex-partner turned rival. How come this stuff is obnoxious while the equally perverse punch lines of "There's Something About Mary" are a riot? It's a great mystery, all right, but there it is. "--Tom Keogh"

Theatrical: 2005

Studio: Warner Home Video

Genre: Action & Adventure

Duration: 102

Summary: As a screenwriter, Shane Black made millions of dollars from screenplays for the big-budget action movies "Lethal Weapon" and "The Last Boy Scout", among others. With his directing debut "Kiss Kiss, Bang Bang", Black mocks and undercuts every cliche he once helped to invent. While fleeing from the cops, small time hood Harry Lockhart (Robert Downey Jr., "Wonder Boys") stumbles into an acting audition--and does so well he gets taken to Hollywood, where--pursuing a girl he loved in high school (foxy Michelle Monaghan, "North Country")--he gets caught up in twisty murder mystery. His only chance of getting out alive is a private detective named Gay Perry (Val Kilmer, "Wonderland", "The Doors"), who sidelights as a consultant for movies. No plot turn goes untweaked by Black's clever, witty script, and Downey, Kilmer, and Monaghan clearly have a ball playing their screwball variations on action movie stereotypes. There's nothing profound about "Kiss Kiss, Bang Bang", but it brings back wicked mischief to a genre that all often takes itself too seriously. "--Bret Fetzer"

Theatrical: 1998

Studio: Universal Studios

Genre: Comedy

Duration: 93

Summary: This so-so romance is patently predictable. Will the good girl end up with the bad boy or the nice guy? The premise would have us believe that a sleazy, none-too-bright sportscaster (David Schwimmer) has fallen madly in love with a classy, intelligent book editor (Mili Avital). To test her loyalty, Schwimmer asks his best buddy (Jason Lee) to romance Avital.
The likable aspects of this tired triangle concern the wraparound narration, featuring the ever-humorous Bonnie Hunt. She relates this complicated romance to rapt guests at a wedding. The marriage in question is between Avital and a supposed mystery man. The problem is that there is never much of a mystery. Or much of a romance. "--Rochelle O'Gorman"

Theatrical: 2002

Studio: New Line Home Video

Genre: Action & Adventure

Duration: 92

Summary: An all-star cast enlivens this mobster movie. Barry Pepper ("Saving Private Ryan", "Battlefield Earth") plays the central role of Matty, the son of a mob boss (Dennis Hopper, "Blue Velvet", "Speed") who's reluctant to give his son a shot at crime. Alas, when Matty and his posse of friends--tough guy Vin Diesel ("Boiler Room", "XXX"), lover boy Andrew Davoli ("The Sopranos"), and screw-up Seth Green (the "Austin Powers" movies)--finally get an opportunity, they fumble the job, and a very important satchel of money ends up in a Montana town where the wily sheriff (Tom Noonan, "Manhunter") decides he deserves a bonus for his years of public service. The posse's problems get worse when Matty's ruthless uncle (John Malkovich) comes to town to clean up the mess. Mechanical and unimaginative, but the capable performances keep it moving. "--Bret Fetzer"

Theatrical: 2007

Studio: Universal Studios

Genre: Comedy

Duration: 129

Summary: Unwanted pregnancy might sound like a risky subject for slapstick comedy, but "Knocked Up" is from writer-director Judd Apatow--so we are in the hands of a man who likes to push things. And like Apatow's predecessor, The "40-Year-Old Virgin", "Knocked Up" is a shaggy crowd-pleaser, a comedy strewn with vulgarity but with a sweet heart at its center. A one-night stand between the utterly mismatched Ben (Seth Rogen, his first starring role) and Alison (Katherine Heigl) results in said pregnancy, and the two people reunite for mutual support--even though they barely know each other. Ben's a slob who lives with four other guys, all of whom share the same stunted approach to maturity; Alison is a new on-air personality at the E! channel. That these two eventually develop a shared understanding and affection is perhaps the movie's biggest stretch (some of the male-humor jokes amongst the guys are idiotic enough to test anybody's hope of civilizing them).
Rogen and Heigl don't really jump off the screen, but, to be fair, the movie frequently needs them to play straight while the supporting cast cuts up. "Virgin" vets Leslie Mann and Paul Rudd are around to supply some humor, as Alison's sister and brother-in-law, and the four idiots who live with Ben (Jay Baruchel, Jonah Hill, Jason Siegel, and Martin Starr) are in their own zone of sophomoric bad taste. Still, by "40-Year-Old Virgin" standards, this movie doesn't explode, and it sometimes feels ramshackle to the point of not being thought out. Apatow's indulgence of actors creates some fine moments (Paul Rudd seems to have most of them), but it can also make a movie feel flabby, and this one is overlong by the length of a belly. "--Robert Horton"

Theatrical: 2009

Studio: Summit Entertainment

Genre: Action & Adventure

Duration: 121

Borrowed By: Shelly Marion

Summary: Nicolas Cage stars in this largely unsatisfying science-fiction tale that begins as a taut and spooky story concerning psychic legacies and ends up falling back on Steven Spielberg's old, cosmic playbook for default explanations about weird phenomena. Cage stars as astrophysicist and widower John Koestler, whose young son attends a school where a 50-year-old time capsule is dug up and opened. Koestler's son, Caleb (Chandler Canterbury), is given an envelope from the capsule containing a sheet of paper inscribed with seemingly-random numbers. Koestler interprets groupings of the numbers as prophesies (made in 1959) of disasters leading up to a globally catastrophic event late in 2009. Moreover, some of the later tragedies involve him or members of his family, suggesting the paper was meant to fall into his and Caleb's hands. That’s not the only freaky thing drawing father and son in a direction they really don't want to go. Among other things, a quartet of mute strangers keeps showing up with a powerful interest in Caleb's whereabouts, and the daughter and granddaughter of the little girl who originally scribbled those numbers in 1959 are under the shadow of a separate prediction of doom. Everything goes swimmingly until it's time for director Alex Proyas (The Crow) to begin tying up all the strings, and cliches start falling like rain. On the plus side, Knowing includes a couple of breathtaking scenes of calamity, the most horrifying (and realistic) of which is a jet crash the likes of which has never been committed to film. --Tom Keogh

Theatrical: 1983

Studio: Sony Pictures

Genre: Action & Adventure

Duration: 121

Summary: There's something inescapably appealing about this camp 1983 "Star Wars"-meets-"The Lord of the Rings" knockoff that encourages the viewer to overlook its many silly shortcomings and simply enjoy the fun. James Horner's rollicking music score certainly helps, as does the epic-scale CinemaScope photography of the breathtaking Italian landscapes. The costumes and extravagant production design are also great to look at, and much of Derek Meddings's visual effects work still looks striking. Freddie Jones stands head and shoulders above the rest of the cast as the wise Ynyr, while the two romantic leads, Ken Marshall as Prince Colwyn and Lysette Anthony (with an overdubbed American voice) as Princess Lyssa, are mere formalities on which to hang the plot. The all-British supporting cast includes Todd Carty, Bernard Bresslaw, Robbie Coltrane, Liam Neeson, and the gorgeous Francesca Annis. If you feel the need for some escapist sword-and-sorcery fantasy, then "Krull" delivers in full measure. "--Mark Walker"

Theatrical: 1992

Studio: Universal Studios

Genre: Action & Adventure

Duration: 102

Summary: A SAN FRANCISCO HIGH-SCHOOL DROPOUT TAKES OVER HIS SLAINBROTHER'S PRIVATE POLICE FORCE.

Theatrical: 2005

Studio: Sony Pictures

Genre: Action & Adventure

Duration: 95

Summary: Stephen Chow (director and star of Shaolin Soccer) is at it again with his newest action-packed and comedic martial-arts adventure, KUNG FU HUSTLE. From wildly imaginative kung fu showdowns to dance sequences featuring tuxedoed mobsters, you've never seen action this outrageous and characters this zany! With jaw-dropping fight sequences by Yuen Wo Ping (famed action choreographer of Crouching Tiger, Hidden Dragon and The Matrix), KUNG FU HUSTLE will blow you away! In a town ruled by the Axe Gang, Sing (Stephen Chow) desperately wants to become a member. He stumbles into a slum ruled by eccentric landlords who turn out to be kung fu masters in disguise. Sing's actions eventually cause the Axe Gang and the slumlords to engage in an explosive kung fu battle. Only one side will win and only one hero will emerge as the greatest kung fu master of all.