With the recent trend in Hollywood to recreate and remake old movies, many holding a significant nostalgic experience for moviegoers, it seems that maybe studios have run out of new ideas for movies. So far this year we are already being treated to a re-envisioning of Dawn of the Dead and a remake of Walking Tall, and we aren’t even out of March yet. Yet, while New Line’s Texas Chainsaw Massacre update disappointed many fans of the original film, fans of Dawn of the Dead should be very happy with Universal’s update to the cult classic.

For those who have never seen the original film, you will be treated to an energetic, fast-paced zombie infested ride that never seems to let you go. Those that have seen the original will see an energetic, fast-paced update to the zombie infested classic that builds upon the strong points of George A. Romero’s classic, while adding a few of its own. Taking a cue from 28 Days Later, Dawn of the Dead brings in zombies who are not the stumbling, mindless bodies of our neighbors reanimated for an unknown reason; zombies now have super-human strength and the ability to run our heroes down.

Even before the opening credits flash on screen in smears of blood you know this film isn’t going to dilly around, something that hampered the original film with lots of downtime in between bouts of action. When Ana’s (Sarah Polley) husband is attacked by a neighbor girl in their bedroom, he is only down for less than a minute before he stands back up and has a thirst for blood and a hunger for flesh. Ana is able to escape and meets up with Kenneth (Ving Rhames). Together, with a few other survivors they seek refuge in a shopping mall. Whereas the original took nearly half the film to reach the mall, our updated characters reach it in nearly 15 minutes and then the fun begins.

Romero’s original version of the film was a stab against consumerism, but the updated version of the film drops this not-too-subtle metaphor in place of raw emotion and action. Adding into the mix is the feeling that humans worst enemy is other humans, something already established with the aforementioned 28 Days Later. Even without the deep meaning to the piece, Dawn of the Dead excels in every aspect of film making. It gives us characters that aren’t fully realized, but not completely 2D, it gives us internal and external conflicts, it gives us gore, it gives us love, and it gives us sacrifice and redemption. Everything you are looking for in a non-award-fishing film is presented wholly in this movie.

Fans of the original will find nods to the classic. The chopper, used as the primary mode of transportation in the original, makes a cameo appearance in the beginning of the film. Several of the stores at the shopping mall have been renamed for members of the original cast. For instance, during the first wide-angle shot of the mall a department store called Gaylen Ross can be seen, she is the actress who played Fran. The B.P. Trucking Company is back in the update as well as actors Ken Foree and Scott H. Reiniger in cameos along with the original’s make-up artist, Tom Savini. Luckily, the motorcycle gang does not return this time.

There are some problems here and there with the film. In the beginning the beginnings of a storyline are presented when a character suffers an injury and then falls into contaminated water, but the affects of this happenstance never come to fruition in the film. Also, while the film does contain a very high body count, the extreme gore of the original is not present here. Those looking for a screwdriver in the ear will have to look elsewhere.

Dawn of the Dead is one of the few films that can boast they are just as good, if not better, than the original film they were crafted from. Fans of the original may be a bit disenchanted by the thematic liberty taken by new comer Zack Snyder in the director’s chair, but as different as the film is from the cult classic that spawned it, Dawn of the Dead rises to the occasion.

The rate at which remakes are coming out is making me increasingly nervous about the lack of good, new ideas in Hollywood. The more disturbing trend it to remake movies that people in their late 40s early 50s would remember sneaking in to long ago. The amount of time before a movie is released is becoming shorter and shorter before it becomes grounds for the remake treatment, and while some rightfully deserve this retouching, others may just be a waste of energy and time. Luckily, The Texas Chainsaw Massacre falls into the previous category as the re-imagined tale of twisted murder is vividly brought to the screen with only a few problems.

One thing that stood out to me, having not seen the original in any form, or it’s sequels, was how much Rob Zombie’s House of 1000 Corpses “borrows” from this picture. Even in its remake form the storylines are eerily parallel almost to the point of a true rip-off. While I wasn’t impressed with Corpses, Massacre has a sort of freshness to it that holds it above past movies in the genre, almost as though you need to watch it as Leatherface and the twisted manner of the film has seeped deeply into pop culture.

The story starts off with five teenagers making a trek across Texas to see a concert (with front row tickets non-the-less). When they almost hit a girl walking in the middle of the street it starts them out on a journey through death, despair, and some of the most wretched, vile people this side of the Mississippi. When something terrible happens the group is thrown through hoop after hoop as they try to track down the town Sheriff. Through the passage of time they will meet an “interesting” cast of characters and learn about true fear.

The horror staples pioneered by Friday the 13^th and A Nightmare on Elm Street remain with the kids having sex, taking drugs, and drinking. This is all it takes in a horror movie to seal your fate. Keep track of who does what and you may be able to guess the ending, or not. The film itself establishes the story quite well and the full circle feel gives you a full feeling when its over whereas some movies leave you wanting more in the bad sense (meaning the movie felt incomplete) The Texas Chainsaw Massacre leaves you wanting more in the good sense (meaning the film was good).

There are some problems here and there that detracted from the atmosphere a bit. The biggest drawback is the film isn’t scary in any sense of the word, it is more suspenseful than anything, but even with the cheap jump-shocks you never actually feel any fear while watching. Secondly, the acting isn’t necessarily the high point on any of the films actors and actresses; it seems being able to act isn’t necessarily a prerequisite to actually being cast in a film. Also there are points when the believability of the film skews into the “I don’t freaking think so category,” mainly with a certain character taking on the long-known persona of a hockey masked killer.

The Texas Chainsaw Massacre is a name everyone can ask anyone about and they will give you a vague inference of what it is about. For a movie released almost 30 years ago the story holds up quite well and the main killer shines as one of the greats in a sea of mediocre “monsters” that all have unique staples into killing, but lack the originality and simplicity that once had audiences swooning in their seats. This remake has been tagged by many as a waste of time and an effort to cash in on the license once again, but those who can see past the negative comments, and haven’t seen the original, may find a pleasant Halloween treat, and that isn’t a trick.

The original Charlie’s Angel blasted on to the scene in November 2000 and popped the box office for $40.1 million dollars. Not a bad sum for a remake of a 1970’s TV show and director McG’s first gig. Now the angels are back in Full Throttle a movie that promised to be bigger, faster, sexier, and better than the original which set the precedents for campy action movies. Unfortunately it doesn’t appear as though the new film is firing on all cylinders.

Charlie’s Angels was a cheesy action movie that featured over the top stunts, post-Matrix slow motion martial arts, and a story that caused a major disassociation from reality, but it had charm. Full Throttle tries to embark on the sequel road by taking everything that work from the first film and building upon it, but some of the stuff that they believe worked didn’t need a 10 minute exposé. McG tries really hard to rekindle the magic felt in the original, but most of the time he goes too far resorting to dance numbers and far too many excuses for the girls to dress up in skimpy clothing and defy the laws of physics.

The story begins in Mongolia where the angels have been entrusted to rescue Ray Carter (Robert Patrick) one of two men holding the keys to the Witness Protection Program. The movie plays out from here as a cheesy knock off of the original Mission Impossible where undercover agents (here, protected witnesses) could be exposed if the keys fell into the wrong hands. When Natalie (Cameron Diaz), Dylan (Drew Barrymore), Alex (Lucy Liu), and Bosley (Bernie Mac) are confronted with a new problem associated with the keys (which happen to be titanium rings) the trail leads them to a man from Dylan’s past, Thin Man (Crispin Glover), and fallen angel Madison (Demi Moore).

Through the thinly laced plot McG does offer some awesome visuals and fight sequences that boggle the mind, while entertain it. Let it be known, Full Throttle isn’t a thinking man’s movie, in fact watching it could actually cause your IQ to diminish, but to see scantily clad females washing cars and dancing around in Pussycat outfits would you give up a few brain cells?

The best part of the film is Bernie Mac’s Bosley which offers up both the comic relief and highest caliber acting, and while I respect Bernie Mac’s talents, that isn’t saying a whole lot. At best the film is a glorified music video, making former vid director McG feel right at home. And while I like slow motion action as much as the next guy, being a devoted fan of McG’s “Fastlane,” some of the stunt work in Full Throttle appears to hamper the progression of the film more than ease it along. The first hour plays out, as the angels try and locate the rings, as nothing more than a series of clips with blaring rock music and shameless cameos from Bruce Willis, the Olsen Twins, and Pink (who is never allowed in a movie again).

The most hyped point of the entire film is the return of Demi Moore, but she is in the film for nearly 15 minutes tops and looks as though the F/X buffs at ILM couldn’t quite get that skin looking natural enough. Hulk jokes aside, her role in the film is minor at best and only seems to serve as a gateway for something to go on her resume this century.

Full Throttle isn’t anywhere near a bad film, but the charm and fun set up by the first are sorely lacking in this cash-cow-beating follow-up which seems to appeal to something other than your brain. I’m all for leading ladies in action roles where they can kick ass but three spontaneous dance numbers, a very limited two minute appearance by Thin Man (one of the shinning parts of both films), and a general lack of anything but a cliché ploy to get women to remove clothes hurts the standing of the film as a campy, yet enjoyable experience. You know you want to see it for certain reasons, and you will love what is in there, but when you stand back and take another look the only thing passing through your mind is where the thing is you use to dig food, and that can’t be good.

Forget what you may have heard in the press about The Italian Job before it was released and go into it with a clear mind. You will find that you have a far more enjoyable experience when you don’t let the media preconceptions influence your judgment on this great film. In the same vein of Ocean’s 11 and Guy Ritchie’s excellent Snatch, The Italian Job has you following the bad guys as they complete an incredible score and use all of the high tech gadgets available to get it done while sparing us from the cerebral melodrama and forced comedy. The Job is a balls-out fun movie that showcases the strengths of its cast and knowing its target audience to a “t”.

The movie starts off with a big job being pulled up by a crew of crooks consisting of Charlie (Mark Wahlberg), Handsome Rob (Jason Statham), Lyle (Seth Green), Steve (Edward Norton), Left Ear (Mos Def), and leader John Bridger (Donald Sutherland). As you have seen, no doubt, in the trailers Edward Norton’s character pulls a double cross on the rest of the crew and leaves Bridger dead and the rest of the crew looking to get back what is rightfully theirs.

The great thing about the film is everyone is just who you would expect. Seth Green’s Lyle is a computer genius and the “tech” guy on the squad whose purpose is to map out the plan and play havoc with Los Angeles’ traffic system. Mr. Bad Ass himself, Jason Statham, is just the character you would expect. With the driving skills he learned in last fall’s The Transporter firmly intact he doesn’t wrestle anyone in grease this time, but the sure does whoop some ass. Mark Wahlberg’s Charlie is the cool, calm leader of the group after Bridger is killed and keeps everyone working even with the revenge flowing through their veins to get back at Norton’s shifty Steve. No one wants revenge more than Charlize Theron’s Stella who looks stellar (excuse me) and plays the part of the abandoned daughter very, very well.

The style of the movie is its highest point. With cool, easy camera transitions you hardly ever feel a scene has ended before you are thrown into a new one. Some of them are clearly “throwbacks” (Hollywood for ripped-off) of other movies, and TV shows, but they work well in the film. A particular favorite is the transition from Europe to LA with just a swipe of the sky by the camera. The movie never lets you go after it begins and before you know it the highly publicized Mini chase scene is on the screen and the final double cross by the rest of the team as they steal back the gold.

Comedy is provide by, mostly, Seth Green who presents a very, very funny anecdote about the true origins of Napster and the film revisits this for all its comedy worth throughout the film but it never seems to get old. Even a surprise cameo by Shawn Fanning brings the joke to fruition. There is something about Seth Green that enables him to bring life to even the dullest of the dull, Greg the Bunny anyone?

The film does suffer through a few problems that do bring you back down to earth, but nothing too serious that you will detour your mind away from all the fun you are having while tuning into this 100 minute joyride. There are several times when you get those convenient plot clichés that plague so many movies these days, and other times when the movie is really slowed down from the brisk pace that you are used to by watching the first thirty minutes, but this doesn’t last long. Also the highly tacky “Hollywood” ending is, well, tacky.

All in all there isn’t much that can detract from the fun you will have while watching The Italian Job. The movie is a breath of fresh air in to a highly stale summer movie season and should succeed like other movies in the genre. Leave your brain at home and take in a truly enjoyable film that promises nothing and delivers everything you could want. Action, drama, comedy, and a light love interest equal a movie you should be seeing on your much earned weekend.

Bad Company is one of those movies that pleases everyone that sees it, the problem is there are too few to make a real difference in the movie’s box office gross. Bad Company is also one of those movies that was directly affected by the happens of September 11th. The movie was delayed from it’s original release date last fall when it could have made a bigger splash in the box office.

With that said, Bad Company is not a bad movie, in fact, I really enjoyed the two hours in the theatre watching Chris Rock be funny, Anthony Hopkins deliver his deadpan style of acting, and see the problems they managed to escape especially the car chase scene towards the end, although rather cliché, it was still a great ride.

The plot of Bad Company is as basic as it comes, but it seems to work better than some other movies that have tried it. The story centers on Rock’s character of Michael Turner, who is actually Kevin Pope one of two twins separated at birth after the mother died of complications. Pope works for the CIA and has been deep undercover for two years plotting out the sale of a stolen nuclear device. Just when it seems the deal is going to go through, Pope is assassinated by the rival bidder who aims to use the bomb in a major United States’ city. This is where Rock’s other character comes in. Jacob Hayes is the other twin who works as a poor street hustler and makes money off of playing chess and selling tickets. In order for the deal to go down, the CIA needs Hayes, but it will come at a price.

The screen-time between Hopkins’ character Oakes and Rock’s Hayes is the best part of the movie. They seem very charismatic together and able to pull of the buddy-buddy relationship that it seemingly streamed along for most of the movie. Even Rock by himself he gets the job done by bringing in the classic humor that has made him a star today since his beginnings on Saturday Night Live over ten years ago. Hopkins, while getting up there in age, works well in the part of an up-tight CIA agent with no personal ties to the world.

Produced by Jerry Bruckheimer, I didn’t expect much after what Pearl Harbor turned out to be, but I kept faith even after the three hour fiasco of love in the Pacific. What really got me worried was seeing Joel “I love Batman” Schumacher’s name attached to anything resembling a movie. I mean, the guy totally messed up the Batman franchise for life, and in turn has killed the Black Knight. I am proud to say that it wasn’t as bad as I thought from a directing stand point. There are a few very stylistic shots that I really enjoyed, one where Hopkins is hanging out of the moving car going across the grassy knoll.

In the end, Bad Company didn’t turn out as bad as I thought it would, you can check out my pre-summer predictions right here to see what I thought it would be like. While it wasn’t quite as bad for the audience, Disney may not be too happy with the rather dismal $10.5 million and fourth place opening in it’s first weekend. Although I said it would happen…