I recently realized that I'm a little girl. If you'd like to see what a guy that likes 'Freaky Friday' more than 'Kill Bill' has to say about movies, read on. If not, shake your head and move on.
If you like to be actively involved in the movie, rather than sitting back and watching what happens, then this movie was made for you. Memento brings the detective thriller to a new level, as the viewer is able to enjoy and attempt to solve every single scene. Because of the key device of the film, in which scenes are played in backward chronological order, the viewer knows how the protagonist ends his story, but would rather know how in the world he got to that point. Some say that this is just a gimmick to make up for a mediocre plot (and at a risk of losing some ethos here, I'll say that I don't think the plot is all that lacking), but I think the device fits rather well. The character has lost his memory, and has no idea how he has gotten to his current position, at any time. Why, then, should the viewer? Guy Pearce, Joe Pantoliano, and Carrie-Anne Moss do a great job in seeming to all be working against each other, but director Christopher Nolan makes sure that nothing is clear. The viewer doesn't understand why any character would be against one another, or if they even are at all. Amazingly, until the climax, which happens chronologically at the beginning of the movie, or close to it (the movie is not completely backwards, as there are black-and-white cut scenes that help explain the movie), the viewer knows very little. Every scene is great, as they all have pieces of humor, action, and character development, but my favorite scene might be the one in which the black and white storyline fades in to the backwards story line, as a polaroid picture fades into color. It is very subtle, as much of the film is, and leads into the final, philosophical scene. The filming device is truly wonderful, but there is more than enough philosophy, direction, humor, action, and good acting to be sure that Memento is not carried by the device. By the way, if you think you've found a plot hole, look back to one of the key hints throughout the movie: conditioning; how else would he be aware of his own condition in the first place? This movie was carefully adapted from Jonathan Nolan's short story, Memento Mori, and any unexplained detail is just that. The answers are there if your imagination can find them.
2. The Iron Giant
What an incredible, beautiful film this is. This cartoon delves into the nostalgic without relying on it. The story takes place in the United States in 1957, just as the Soviet Union takes the lead in the space race. Finishing in second is not an option and paranoia runs rampant. Brad Bird uses a unique style of animation to further capture a bleak, cold-war setting, and the characters give a strong feeling of reality. There are no talking birds or spoons or moments in which the entire cast breaks into song. There is nothing that even reminds the viewer that he or she is watching an animated film. Jennifer Aniston, Vin Diesel, and Harry Connick Jr. are a few of the more well-known cast members, but every character is done well, with interesting levels of depth. The viewer can sympathize with the federal agent�s fears, even though he is the antagonist of the film. The Iron Giant carries a real message without piling it over the top, and at this point, this is the best animated film I have ever seen.
3. Chicago
This movie came out of nowhere as far as I'm concerned. I knew it was good and I knew everyone loved it, but I never expected it to hit me like it did. "We Both Reached For the Gun" is an amazing sequence but I would not consider it the film's standout scene, because the rest is just so good. Every scene is vivid, and the entire movie is sexy without a hint of meretriciousness. The crispness of the choreography and camera shots are reason enough to adapt any musical into a movie, and Chicago may have set a new standard in terms of quality. The casting was great, and the performances were good to the point of spoiling me. Why did this movie blow me away? It might not be that good; It might just be that it appealed to my taste, as I prefer My Fair Lady to Citizen Kane in every way. However, six academy awards deserve at least a little bit of attention.
4. X2: X-Men United
Roger Ebert calls this film �dumb but good�, and suggests that �Perhaps in the next generation a mutant will appear named Scribbler, who can write a better screenplay for them�. Although I agree that the storyline seems to jump around from character to character, I would suggest that the sheer number of stories being developed is one of the key strengths of this film. Bryan Singer gradually and subtly increases the depth of each main character as the movie unfolds, as Hugh Jackman brings Wolverine�s action scenes back, Rebecca Romiin-Stamos does a nice job with an interesting Mystique character, Famke Janssen evolves Dr. Jean Gray adequately, Halle Berry adds a bit of personality to Storm, and if a character has ever been played deliciously, I would say Ian McKellen does it, with Magneto. The undertones of McCarthyism are still present, and now there are more social metaphors, subtle and otherwise. Professor X and Magneto still parallel history as two characters fighting the same fight in extremely different manners. A main addition is Alan Cumming, who plays Nightcrawler, a god-fearing mutant who is involved in what might be the best action sequence in cinema history. I was a bit disappointed with the regression of Cyclops and Professor X, but was pleasantly surprised by the development of Iceman, Pyro, and Rogue. This is an incredible action movie, especially redeeming to fans of the series. If I had one complaint, it would be that the antagonist, Colonel William Stryker is rather one-dimensional and evil. Perhaps he was meant to be this way, to parallel some of the more stereotypical and expendable characters. Still this nitpick has little bearing on my opinion of this film as a whole. I give this movie my highest recommendation.
5. Lord of the Rings: Return of the King
I don�t know what to say. This movie is incredible. The battle scenes are unbelievably wonderful. This whole 10-hour saga has been incredible, but Return of the King might be the best of the three. There are only a few comments that I feel are necessary. The first is that this is a very long movie, and some of the endings may have been done away with. The second, incase you�ve forgotten, Peter Jackson has created a masterpiece. The third comment is that this movie was slightly homoerotic. It seemed that as the movie progressed, Sam and Frodo were getting closer and closer to a soft kiss. I�m fine with it, as I�m sure their friendship must have been close for Sam�s devotion to be what it was. It just makes me start to wonder about the insane rumors regarding films that openly homosexual Ian McKellen is in. Fourth, Ian McKellen�s Gandalf didn�t get to deliver the wizardry I had hoped for. I went through the movie thinking that the only thing that sets wizards apart in this land is that instead of being merely great fighters, they are great fighters with staffs. Other than that, this movie was a blast. I don�t regret spending 200 minutes on this movie in any way. Incredible movie.
6. Terminator 3: Rise of the Machines
Arnold's back. After a bit of a dry spell (Collateral Damage, The 6th Day, End of Days, Batman and Robin), Arnold is back, and he's bigger than ever! Terminator 3 had high expectations: not to ruin the Terminator series. It did well enough for me, and even surpassed my expectations. It had the action and intensity that I expected from the second Terminator, but held true to the intellegence carried through the entire series. The crane-chase scene is unbelievable, and cannot be watched without the viewer wondering: Is this one even better than the Matrix: Reloaded chase? I say no, but it goes beyond the call of duty in my opinion. The movie lets the viewer explore interesting discussions in fate and purpose, but doesn't overload any brains. Rise of the Machines has a new female presence in both the upgraded killer (Kristanna Loken) and the new ally (Claire Danes). Claire. Oh Claire. This is a great movie, in which even a simple phrase such as "See you later" can have a dose of ironic gravity.
7. Seven
An excellent detective thriller, Seven excels in many areas. Morgan Freeman and Gwyneth Paltrow play very deep, emotional characters, and although I'm not in love with Brad Pitt's character, he'll do. David Fincher allows the viewer to try to play detective along with the protagonists. The only danger is that the viewer may get lost in his or her own imagination and miss pieces of character development or interesting dialogue. Possibly a shortcoming of the film is that there is no time to reflect and predict what is to come, but perhaps it was intended for the viewer to step on and shut up. I've personally never been as consistently tense as I was while watching much of this movie, especially the closing scene. Kevin Spacey does an amazing job, and sets the viewer's mind into a frantic sprint in the concluding car-ride scene. We end the movie and pick up the pieces with what seemed to me to be a tribute to Chinatown. Well intended, well thought-out, and well done, Seven will be a lasting film for anyone that watches it.
8. Punch-Drunk Love
Adam Sandler makes his serious debut in a serious way. His character, Barry Egan, is missing a screw or two, and is all too aware of his own flaws. He is a tragic, misunderstood man that life seems to have passed by on some days. He's constantly rileying everthing up until he meets a romantic interest (Emily Watson). The viewer follows along as Barry awkwardly tries to find happiness through a relationship. This movie is classified as a romantic comedy, but is darker and more honest than the typical movie in its genre. The honesty makes the romance feel more genuine and more intense. The honesty makes the victories more triumphant and the losses more heartbreaking. The honesty makes this Sandler's best movie to date, and if Sandler can continue to evolve and improve, he'll find himself squarely at Jim Carrey's level.
9. Ocean's Eleven
Steven Soderbergh�s remake of Ocean�s Eleven, from what I hear, is hardly a remake, and judging by the general consensus, that�s a good thing. Soderbergh used his long fingers to recruit the cast of a lifetime. George Clooney, Brad Pitt, Andy Garcia, Julia Roberts, and Matt Damon are some of the bigger names, but only part of this very deep cast. Soderbergh decides to change some of the key plot by making a few creative alterations, including changing the crime team from closely-knit war heroes into independent cons, but the basic idea is still the same: the goal is to reach the vault under a casino by passing through a gauntlet of traps and safeguards. The pacing is wonderful; as soon as the viewer is introduced to the cast, the details of the plan are immediately developed, and then carried out. I almost don�t believe that this film is 117 minutes long. The dialogue, hailed as one of the strong points, is one of the few things I dislike about this film. It�s all too perfect, too contrived, for my belief. I can let that slide a bit, just because the rest of the film is so much fun. In the end, this is a film that doesn�t try to stimulate the viewer�s intelligence, but is very enjoyable nonetheless.
10. Gangs of New York
Daniel Day-Lewis has received praise for his role as Bill the Butcher, but Leonardo DiCaprio's performance as Amsterdam may be just as strong. Both actors light up the scene and absolutely pull the viewer in, to Scorsese's vision of an anarchy-filled New York City. This film takes place in the ghettos of New York in the 1860's, specifically at Five-Points, the center of tension of an adolescent melting-pot of a city. Watching this movie, the viewer can feel tense empathy and fear for the protagonist, as his plot for revenge becomes progressively more audacious, but what makes Gangs of New York stand out the most is the unavoidable feeling of importance and relevance of Scorsese's world. In the closing scene, a simple panoramic fast-action shot of the development of the city reminds the viewer that millions of people walk on the ground that the movie's bloody fights take place on, virtually all oblivious to the history and significance of their city's turbulent youth. Gangs of New York is long (almost three hours), but I, for one, would have liked to see even more of Scorsese's wonderful interpretations, and was disappointed when this ride was over.
11. School of Rock
Jack Black plays the role of a loser with a dream. He feels misunderstood, knowing that he has the ability to create music, while other losers with dreams just make songs. In a wacky twist, he accepts a job as substitute teacher of one of the most prestigious private elementary schools in the land. It all seems contrived and bland until Black's character, Dewey Finn, hears the children's musical ability. Black seems to enjoy his part, which makes it all the more enjoyable for the audience. We see Dewey broaden the children's education with life lessons (stick it to the man) as well as musical lessons (play with rage, break the rules), and we see the children give a few life lessons in return. The movie comes dangerously close to cliche, but Black has enough presence and individuality to steer this film in the right direction. Comedies don't normally do well on my list, but School of Rock is gold.
12. Adaptation
Critically acclaimed, Adaptation has appealed to critics like few movies have. It is a film in its own class, teetering between pretentiousness and honesty, as the plot of the movie depicts writer Charlie Kaufman�s difficulty in writing the movie. That�s right, the entire movie shows the process of the making of itself. Interesting to anyone that understands the background, and monumental to those in the film business, Kaufman and director Spike Jonze beautifully set the pace and leave the viewer wondering how much actually happened and how much was �adapted� for the film. For example, Nicholas Cage gives a wonderful performance as both Kaufman and his (non-existent) twin brother attempt to adapt a beautiful book into a film free of Hollywood corruption. A scene worth multiple looks is Kaufman�s discussion with a renowned writer, who gives Charlie tips and ideas to move his plot forward. He learns that some things just will not work in a film, and the pace of the film changes in front of the viewer. My only complaint is that the last 15 minutes of the film add the previously mentioned Hollywood car-chases and violence to an otherwise complete and fascinating study. I personally don�t care too much about the world of film-writing, but I can step out of my shoes and understand some of the beauty of this film.
13. Scarface
Brian DePalma�s now classic gangster film of the 80�s is still alive and well. Some people think that the movie does not hold up with time, but they are, in fact, confused. It is the 80�s as a decade, rather than the movie, that does not hold up, and to those that can appreciate that fact, this movie is quite a treat. The soundtrack seems cheesy now, but it is well done, and epitomizes the attitude of the film as well as the country at the beginning of the �Me Generation�. Something that I struggled while watching was the lack of a �good� presence. There was a great protagonist presence, in an amazing performance by Al Pacino, but it�s tough to cheer for or against it. This is a very good movie, and although it�s not close to the Godfather, and certainly not close to the billing of the hip-hop community, it is a very good investment of 170 minutes.
14. Pirates of the Carribean: The Curse of the Black Pearl
This movie is one step above the dreaded summer flick. It is a big step, however, as Johnny Depp absolutely carries many of the scenes with his flamboyance and flair as pirate Jack Sparrow. There is no shortage of eye-candy as Orlando Bloom and Keira Knightley provide the viewer with an aesthetically beautiful romance, reminiscent of that created by Robin Wright and Cary Elwes in The Princess Bride. The plot is fun and at times clever, but nothing more.
15. Stir of Echoes
The biggest knock on Stir of Echoes is that it very much resembles The Sixth Sense, complete with creepy little paranormal boy, but I think it has enough of its own identity to last. In fact, this film has more re-watch value than many others in its genre because of one key aspect: it does not rely on some surprising, gimmicky ending. Rather than blowing your mind on the first watch and allowing new discoveries on the second watch, Stir of Echoes accomplishes everything by being a good movie throughout. Honestly, The Sixth Sense was incredible on the first watching, but like The Usual Suspects, I�m not sure if there�s a reason to watch the movie ever again. The present mood of the movie is wonderful, as are the individual performances. Kevin Bacon and Kathryn Erbe are perfectly cast; David Koepp creates an additional reason to watch the movie, as the viewer finds himself caring about the relationship that is starting to break apart. Interesting elements of creepiness and small surprises are dispersed throughout the movie, and there is no real spot in which the film lags. Would I be going too far if I said this is my favorite Kevin Bacon performance?
16. Harry Potter and the Chamber of Secrets
My favorite part of this movie is what many critics are calling director Chris Columbus�s biggest error. Columbus spent a lot of money to supply the readers of the book with a perfect painting. Unfortunately, that took away his ability to create, quite a bit. Columbus follows the plot of the book to a tee, which seems to me a dangerous idea, for the sake of pacing. I think it worked well enough, and felt a real reward while watching, seeing the images of the book come to life. This movie has more action than the first and is much, much scarier. You may want to consider leaving your kids home for this one. The movie is 160 minutes long, but it doesn�t seem to bad. The casting was great, and my favorite performances, in order were: the late Richard Harris in his last role, as Dumbledore, Robbie Coltrane as Hagrid, Kenneth Branagh as Lockhart, Maggie Smith as McGonogall. None of the performances were bad, though, and I�m not sure if there is anything I would change about this movie. I wouldn�t consider this to be a great film, as the only reason for me to watch it would be to paint the pictures into a book I already know, but I admire and respect the job done on this project.
17. Freaky Friday
This movie is for kids. More specifically, it�s made for little girls. Sadly, I knew I�d like it and I did. Jamie Lee Curtis and Lindsay Lohan do an amazing job switching roles, and though no one needs another one of these movies, it�s refreshing to see one done pretty well. The laughs are plenty, and the movie pulls at the emotions without being cheap (at least not too cheap). The one problem I had is the problem that plagues every movie of this kind. How do you let the actors perform the new characters without making them inherently stupid? The acting was really fun to watch, but I couldn�t help but think of the characters, �why wouldn�t she make more of an attempt to act like her mother there? She�s just asking for these awkward situations�. Oh well. It is a Disney switch-story remake. For what it is, it�s great. I enjoyed this movie, and may even go so far as to call it �good�.
18. Finding Nemo
Pixar is at it again, and this time they�ve brought us into the wonderful world of an Australian Reef. The colors are brilliant and the scenery is wonderfully, and carefully detailed, but it is somewhat less impressive than Monsters, Inc., in which an entire world is created, rather than imitated. Although the world is imitated here, a fresh subtext of relations and emotions between underwater life is created, and created well. Pixar has always been good for the wonderful animation, and here is no exception, but unfortunately, like the others, this film does not have the gravity or message to propel it to the top of any list. I find it lacking, as the only lesson is that if you avoid life because of fear of what it brings, you may as well stop living anyway. This movie is good for sure, but it disappoints after Monsters, Inc.
19. Elf
It is now Will Ferrell�s turn. Jim Carrey and Adam Sandler have both set the stage as comedy feature stars, and Ferrell does not disappoint, at least not in this performance. The ability to manipulate a viewer�s taste through timing is relevant here, as the cheesy Christmas spirit is welcome in late November. The supporting actors play good, but not unforgettable roles, as Ferrell dominates much of the movie with his quirky sense of humor. Kudos for Elf. It seemed to realize all of its goals, and the only criticism is that the goals were perhaps not high enough.
20. Kill Bill: Volume One
I knew I wouldn�t like this movie as much as everybody else. Hailed as Tarantino�s bloodiest, most ambitious project, Kill Bill does not leave the Tarantino fan wanting. Unfortunately, I don�t care much for his films. They never fail to deliver memorable scenes or interesting dialogue, which is great for most viewers. Unfortunately, they just do not satisfy my need for relevance. That being said, the movie does pull together many movie genre references admirably, and has interesting and memorable scenes. As Jim Agnew of filmthreat.com writes, �You get the feeling that what (Tarantino)�s saying with this film is, �If you don�t like the uber-violence and mega-blood than fuck you, because I do.� I don�t, and I knew I wouldn�t, so Kill Bill, you were visually appealing and you were very ambitious, but you just do not appease. The cliffhanger seemed obvious to me, and gives me no desire to continue the saga.
21. Bruce Almighty
Jim Carrey is apparently tired of being restricted to one genre while acting; his newest project allows him to play a wacky, comedic role while addressing relevant, serious themes. Unfortunately, not enough attention was paid to either pole, as both aspects dwell in their own mediocrity. The laughs were there, certainly, but not enough to carry the film. The attempt of a message was there, certainly, but far underthought and unambitious. Jim Carrey finds himself in God's shoes and all he can think to do is blow a girl's skirt up? He has God's power and he decides to set up a nice night with his girlfriend? There was so much possibility here, and nothing happened. Looking past the incredible (by incredible I mean not believable, not amazing) selfishness of the character, I find it hard to believe that he would be so myopic. Why blow the girl's dress up when you can make her clothes fall off, come to life, run away, rob a bank, and pay money to any woman in the world to undress (or more) for you? Why train your dog to use the toilet when you can make urination no longer necessary? Why even deal in these matters anyway? Why not travel the universe or become a superhero or go back in time or fly or any of a million other unused ideas? Jim Carrey is fun to watch, and Morgan Freeman does a good job with his character; Jennifer Aniston is fine to me, and I was pleased by Steven Carell's presence in the film. The casting was all fine. However, I feel that I am owed an apology by either director Tom Shadyac or the crack team of screenwriters. If God does play a role in everyday life, what happens to the world when all of God's powers go to one man? There is so much missing here. This movie was a fun time, and was not a complete waste by any means, but I left it feeling somehow cheated, like my star draft pick had just been convicted for murder.
22. Lost In Translation
This film carried huge expectations, and they may have fallen a bit short. In Bill Murray�s best performance, we see a middle-aged celebrity in a mid-life crisis. He can not identify with the Japanese culture in which he finds himself, and must therefore dwell on his misplacement in life. It is a rare film, in which the romance has absolutely no physical basis, but instead depends on two misplaced souls to emotionally relate to each other. I think much of the film�s success comes from the fact that many can relate to the lead characters, feeling a bit isolated or misplaced at times. In the end, Lost in Translation has nice illustration, but there is just not enough interesting text to make a full work.
23. Like Mike
Lil� Bow Wow is an orphan, and a weenie orphan at that. He gets picked on by other orphans until he is transformed into a basketball all-star. Ridiculous, like other films of this kind, Like Mike wastes a bit of the viewer�s time trying to explain how the transformation comes about. Oh, I see. It was the lightning combined with the shoes that gave Bow Wow a jump shot. If you�re not going to explain it rationally, maybe you should just not explain it. I don�t really believe that, as this movie is for the kiddies anyway, but I can�t really recommend this movie for an adult with no children. There is a nice message and great cameos from stars such as Iverson, Finley, Nowitzki, etc., but this is just Angels in the Outfield for the new generation.
24. The Cat in the Hat
If suspicions were there after the second Austin Powers movie, and then fueled by the third Austin Powers movie, then they are confirmed in The Cat in the Hat. Mike Meyers is not that funny. He is great at first and charming after, but sooner or realize you realize that every joke is the same, told in a slightly different way. There were hilarious moments, definitely, but there were also a few clunkers. I personally think that the movie was not dark enough, as the Cat in the Hat was always a sinister, creepy character to me. I think if this was in the hands of Tim Burton, it could have resembled Beetlejuice instead of what it resembles, Spy Kids, but as it is, it falls short of its potential.
25. Lolita
This film brings the viewer through a series of emotions. There is something undeniably and disturbingly sexual about the direction in this film, which is probably the most important aspect of this project. Adrian Lyne does not develop this into the masterpiece that the Nabokov�s classic is, but he does capture, in essence, the emotions provoked by the book. The viewer can sympathize with a disturbed Jeremy Irons, but feels guilty doing so. Really, this movie shows the power of the images in the book, as it doesn�t seem too ambitious, but still possesses reason to watch. Time would be better spent in the book, but for someone that has two hours and a free night, it�ll do - barely.
26. The Animal
�He wasn�t much of a man. Now he�s not much of an animal�. That was the tag-line. Rob Schneider and Colleen Haskell (that�s right, Colleen from Survivor) are the lead characters of this piece of work. If you�re still considering watching it, there�s not much I can type from here on that will sway you. It is impossible to laugh with this film. Maybe you can laugh at it, with a bunch of friends, as it is stupid to the point of humor, but this movie was intended for sleepovers with 11 year old boys. Anyone else that admits to liking it should be avoided.
27. Cabin Boy
Chris Elliot, unfortunately, is just not a lead character that people want to watch. Other than a few scenes that are so stupid that you have to laugh, there is not too much redeeming in this movie. Andy Richter and David Letterman play small roles, and I was more pleased to just recognize them than to watch any performance in this movie. Cabin Boy stinks, but it doesn�t worry about that. It keeps going and piles on the laughs for the few that can appreciate them. Some people might love it, some might hate it, but at least it has a sense of confidence and originality. Don�t watch it.
28. American Psycho 2
The most questionable sequel I�ve ever seen, American Psycho 2 is so tacked on that it is hard to imagine what director Morgan J. Freeman was thinking. In fact, the only thing I would call a link is that now, the main character is the girl who supposedly killed Patrick Bates in the original. The plot is added on badly enough, but now we�re adding plot into the first movie to explain ourselves? Mila Kunis has now grown out of her killing days, and is now a dangerously clever college student, so clever in fact that she runs mental circles around men with PhD�s? William Shatner is a legendary college professor? No, someone had to have found an interesting horror flick plot and decided to try to link a name to it to sell it. Unfortunately this has too few elements of horror and too many elements that are simply, horrific. The dialogue is nasty, and delivered by Kunis, it is even tougher to swallow. The side plots hurt my head, so little effort was put into them. This movie was watched on my �Bad Movie Night�, and it still appalled.
29. Cabin Fever
This film insults the viewer�s intelligence. I�m not going to mention the performances or direction. I wish this genre would completely disappear. There are no redeeming qualities. I look back and see two points that stand out in quality. One is a character�s explanation of why he�s going to shoot squirrels: �Because they�re gay�. The other is a beautiful girl, shown naked. I usually wouldn�t even mention something like that as a strength. I�m the guy who thinks cheerleaders are stupid, unnecessary parts of sports, that insult female watchers of sports, and even alienate the significant others of sports-watching males. For me to mention a topless shot as a strength of a movie, hopefully, speaks of the worthlessness of this film. It is ass-garbage, and could only possibly be enjoyed through a drinking game.
30. Eight Legged Freaks
Hailed as a film that pays reverence to the classic monster movies, Eight-Legged Freaks was written for idiots. There comes a point when nostalgia should be sacrificed for the sake of progress. David Arquette plays the lead character, if there is one, as the viewer quietly wonders why the movie was made. I�ve said it before: If you can excuse a movie for being stupid because it�s supposed to be that way, then you should at least criticize the director for deciding to make it that way in the first place. This movie is bad.
31. Plan Nine From Outer Space
Ed Wood's cult classic is widely regarded as one of the worst films ever made, and it didn't disappoint. It was worth my time to watch and see for myself, and I can boldly say that this is the worst movie I've seen in a good while. Recycled and reused shots, tombstones that get kicked over, a bad guy that covers his face because he's not who the credits claim he is, these are all reasons to call this a stinker. The most incredible thing I've ever seen, though, is the blatant disregard for time of day. A lady runs away at night, from stupid, slow moving baddies, while the police drive to the scene during the day. The plot holes are large, the filmography is awful, and the pace almost put me into a panic attack, it was so dreadful. This was rented for the bad movie night but, unlike the others, it was not bad in a fun way. I'm glad I've experienced this movie, but I certainly would not do it again.