A re-telling of the assassination of Senator Robert F. Kennedy at the Ambassador Hotel in 1968. The film follows 22 individuals who are all at the hotel for different purposes but share the common thread of anticipating Kennedy's arrival at the primary election night party, which would change their lives forever. This historic night is set against the backdrop of the cultural issues gripping the country at the time, including racism, sexual inequality and class differences.
Super-spy Ethan Hunt (Tom Cruise) has retired from active duty to trains new IMF agents. But he is called back into action to confront the toughest villain he's ever faced - Owen Davian (Philip Seymour Hoffman), an international weapons and information provider with no remorse and no conscience. Hunt assembles his team - his old friend Luther Strickell (Ving Rhames), transportation expert Declan (Jonathan Rhys Meyers), and background operative Zhen (Maggie Q), to rescue one of his very own trainees, Lindsey (Keri Russell) who was kidnapped while on a surveillance detail of Davian.
Tina Turner, that dynamic diva of pop/soul/R&B from the '60s to the '90s, sings like a woman whose life story is every bit as rough and tough as her voice. And What's Love Got to Do With It, based on her autobiographical account (in I, Tina, written with Kurt Loder) of her years under the iron fist of her abusive husband and musical partner/Svengali Ike, is further proof of what we've always known about Tina: She's what you call a survivor.
Despite the inevitable law of diminishing returns, The Matrix Revolutions is quite satisfying as an adrenalized action epic, marking yet another milestone in the exponential evolution of computer-generated special effects. That may not be enough to satisfy hardcore Matrix fans who turned the Wachowski Brothers' hacker mythology into a quasi-religious pop-cultural phenomenon, but there's no denying that the trilogy goes out with a cosmic bang instead of the whimper that many expected.
Considering the lofty expectations that preceded it, The Matrix Reloaded triumphs where most sequels fail. It would be impossible to match the fresh audacity that made The Matrix a global phenomenon in 1999, but in continuing the exploits of rebellious Neo (Keanu Reeves), Morpheus (Laurence Fishburne), and Trinity (Carrie-Anne Moss) as they struggle to save the human sanctuary of Zion from invading machines, the codirecting Wachowski brothers have their priorities well in order.
Perception: Our day-in, day-out world is real. Reality: That world is a hoax, an elaborate deception spun by all-powerful machines of artificial intelligence that control us. Whoa. Mind-warp stunts. Techno-slammin' visuals. Mega-kick action. Keanu Reeves and Laurence Fishburne lead the fight to free humankind in The Matrix, the see-and-see-again cyberthriller written and directed by the Wachowski brothers (Bound). The story sears, the special effects stake out new moviemaking territory - the movie flat-out rocks.
uperior acting, writing, and direction are on impressive display in the critically acclaimed Mystic River, Clint Eastwood's 24th directorial outing and one of the finest films of 2003. Sharply adapted by L.A. Confidential Oscar-winner Brian Helgeland from the novel by Dennis Lehane, this chilling mystery revolves around three boyhood friends in working-class Boston--played as adults by Tim Robbins, Sean Penn, and Kevin Bacon--drawn together by a crime from the past and a murder (of the Penn character's 19-year-old daughter) in the present.
Bill Duke (A Rage in Harlem) directed this edgy action yarn that stretches the barriers of the genre. It explores the fine line between good and evil, while testing the resolve of a moral man seduced by an easier, more pleasurable lifestyle. Although the plot eventually becomes too overblown and earnest, Deep Cover proves far more intelligent than the average action pic. Laurence Fishburne is the straight-arrow undercover cop who gets so far into his assumed identity that he has trouble recognizing the good guys from the bad.
In the tradition of such obsessively driven directors as Erich von Stroheim and Werner Herzog, Francis Ford Coppola approached the production of Apocalypse Now as if it were his own epic mission into the heart of darkness. On location in the storm-ravaged Philippines, he quite literally went mad as the project threatened to devour him in a vortex of creative despair, but from this insanity came one of the greatest films ever made.
