Harry Brown

The film director Daniel Barber is all over the place in terms of tone, rhythm and style. But there is Caine at its center, blasting away. Not because he wants to, yes, but because he believes he has to. Sick, lonely, so lonely, Caine plays Harry as a decent man forced to do things indecent. Whether that justifies killing people, acting as judge, jury and executioner, is not something that obviously concerned Barber to deepen, rather than relying on someone as innately Caine root for, even when he's pulling the trigger.

Harry lives alone in a housing estate, his wife dying in the hospital. young thugs roam the area. In the opening scene amplified-up, Hairdresser's still a rite of passage: shooting a young mother who stands by your baby's car. Harry's best friend, Leonard (David Bradley), who is with him every night for a pint in the pub, is becoming more fearful of violence and must carry a knife.

Big mistake. Leonard suddenly is dead, and Harry is threatened to be. But Harry served in Northern Ireland and will not go quietly.

A first meeting leads to a trip to a gun dealer seedy, a nightmarish scene that includes hit out watching porn addicts, an unconscious woman drooling on the couch with a needle protruding from his arm. Barber does not spare you the details, giving the scene a bad side, take home roughly how sordid this particular world.

Soon Harry is cleaning the neighborhood. A scene in which a violent punk walk through a tunnel with a chain around his neck, Harry uses it as a belt is ridiculous, on top, and yet some kind of fantastic.

Emily Mortimer plays a detective who suspects what's going on, but can not convince his superiors, or anyone else for that matter. Harry treats her well enough, but is not too concerned with what you know or what you plan to do with that knowledge. He does not care about anything, really, other than to finish what he started.

Prince of Persia: The Sands of Time

Johnny Depp makes the "Pirates of the Caribbean" a lot of fun, and based on a trip to Disneyland. Try anything, you never know what can happen. Even "The Godfather" that most sacred of the movies is based on a novel which can be charitably said that most rare of things: The movie is (much) better.

Oh, just sit and watch Jake Gyllenhaal muscular boundaries from one scene to another, sending evil and betrayal in the way, each episode of falling after the next as another layer of, well, a video game. It is intended to be fun, not work, but the plot is so loosely constructed that it takes a great effort to connect the dots. Best just to wait for Jake to reap more bad guys and return stroke.

But let's start at the beginning, something "Prince of Persia" does, twice. In ancient Persia, the king Sharam (Ronald Pickup) notes that there is a scruffy, brave, athletic boy named dastan in the market and adopts him. Jake Gyllenhaal grows, or at least a prince adopted worked for him. It is raised like a brother to Your (Richard Coyle) Garsiv and (Toby Kebbell). The king's brother, Nizam (Ben Kingsley), takes his nephews to attack the city of Alamut after convincing them that weapons are hidden there (yes, that's a reference to exactly what it sounds). Once in Alamut, dastan into possession of a magic dagger that can turn back time. Princess Tamina (Gemma Arterton), of course, wants it back.

There is an old timey feel to some of the stunts and fights, but there are plenty of computer-generated effects to go around, too. Gyllenhaal is a capable, if somewhat mopey hero. (And for all those working in the gym, he keeps his shirt in a pile. Hey, if you have it, flaunt it. ) Kingsley has a grand old time, chewing stage as if he were starving.

Arterton best prices. He has put in time as a Bond girl in "Quantum of Solace" and appeared in such films as "The Boat That Rocked" and "Clash of the Titans" and each, as here, is more interesting than playing the part . She deserves something bigger and better because it has endured, if nothing else.

Resident Evil: Afterlife (2010)

In a apple ravaged by a virus infection, axis its victims into the Undead, Alice (Milla Jovovich), continues on her adventure to acquisition survivors and advance them to safety. Her baleful action with the Umbrella Corporation alcove new heights, but Alice gets some abrupt advice from an old friend. A new advance that promises a safe anchorage from the Undead takes them to Los Angeles, but back they access the burghal is beat by bags of Undead - and Alice and her assembly are about to footfall into a baleful trap

'Sex and the City 2'

What is the only conceivable justification for "Sex and the City 2," a valentine with conspicuous spending that is as banal as it is swollen. Carrie, Miranda, Charlotte and Samantha are all back in the aftermath of the first film, based on the popular HBO series.

However, "Sex and the City 2" is not a movie just as much as porn consumers. The public is asked to relate to the characters, or at least what we remember of them, as well as their shoes, their bags, their apartments, if your sewing stuff.

Yes, I am a boy, and what is more of a man whose idea of fashion is a pair of Levi's and a shirt. High fashion? One of these shirts without a label on the back. So maybe "Sex and the City 2" will still be of interest to hardcore fans, you're thinking. Well, I was a fan, at least in the early seasons of the series. But I have my doubts about how many fans will be left, not the writer and director Michael Patrick King Carrie become one of the shrew movie of all time, living the perfect life she dreamed of and fought for, only to become disillusioned with her when her husband does not want to eat every night.

It's been two years since Carrie (Sarah Jessica Park) and Big (Chris Noth) finally married. And despite not one but two grand apartments of New York, good friends and a husband who clearly loves her, Carrie is worried about getting stale. Hawaii's biggest sin? Buying her a flat screen TV for their anniversary. Nice? Yes, but she wanted jewelry. What do you say what you need to know about where you are.

Charlotte (Kristin Davis) is still married to Harry's (Evan Handler), and have two daughters. But motherhood is harder than imagined, despite the help of a nanny who lives with (who had an inclination for not wearing a bra Charlotte has worried). Miranda (Cynthia Nixon) and Steve (David Eigenberg) are quite happy, but Miranda miserable at work, where a pig is a leader of the evil. Samantha (Kim Cattrall) is, well, still Samantha, man-hungry, but in a twist, doing everything possible to prevent menopause, a joke that runs on almost all 146 minutes of the film.

Through development of the plot no more ridiculous than any other, Samantha lands the girls a trip with all expenses paid - why not? - Abu Dhabi, a place that can teach most people a thing or two about conspicuous consumption. Ah, but our gang, who manage to appear in new equipment and fabulous every five minutes, stopping the king's chamber in each garment that flows or in the case of Samantha in most cases, the lack of it. Here, 6,700 miles from home in the company's dime, they are able to meet its excesses. Although there are nods to the way they are enabled in Arab women compared with about them, especially the Middle East serves as backdrop for the beautiful clothes. Honestly, the time when riding a camel, is "Ishtar" in designer dresses.

'Shrek Forever After' tops box office with $71.3M

"Shrek Forever After," bellowed his way to the top of the box office, making $ 71,300,000 in its first weekend.

But the fourth film in the franchise monster debut DreamWorks Animation had the weakest of all "Shrek" sequels, according to studio estimates Sunday. "Shrek 2" from 2004, opened with $ 108 million. "Shrek the Third, from 2007, made $ 121,600,000 in its first weekend.

And the last delivery was available for the first time in 3-D and IMAX 3-D, which are higher ticket prices - up to $ 19 in Manhattan. "Shrek" made just under $ 5 million on IMAX screens, or 7 percent of weekend movie gross.

This time, Shrek - expressed as always by Mike Myers - is experiencing a midlife crisis, so it makes a deal with Rumpelstiltskin to live as a fearsome ogre again for a day. Cameron Diaz, Eddie Murphy and Antonio Banderas return to the voice cast.

"We are obviously delighted to be the No. 1 movie, we had anticipated," said Anne Globe, head of worldwide marketing for DreamWorks Animation.

"It's a little lower than we expected but it's still No. 4 among all the animated openings of all time, behind the first two sequels of Shrek and The Simpsons (the movie) '," which opened with $ 74 million in 2007.

To explain the comparatively smaller debut for "Shrek Forever After," the Globe: "Part of it is a very high standard has set the franchise Shrek himself. With the fourth movie, we're in kind of uncharted territory - has never been room (one animated) series - and not in the beginning, is where it ends.

Casino Jack and the United States of Money

Not exactly the news that money buys power and influence in government.

But that does not diminish the impact of "Casino Jack and the United States money," Alex Gibney chronic disgraced super-lobbyist Jack Abramoff film. What is striking here is the extent of greed, corruption, arrogance and cynicism, especially in the screen, not only in relation to the system of government but the people serving openly.

Want to throw your hands up in disgust by what Abramoff and his friends pulled, but that's just another exercise in frustration. Abramoff is still in prison, ending a period of four years after pleading guilty to fraud, tax evasion and conspiracy to bribe public officials. But is there anyone so naive as to believe that Abramoff away for a few years to solve all the problems he took and even helped to create?

Gibney, who also made "Enron: The smartest Guys in the Room" and the Oscar-winning "Taxi to the Dark Side," once again takes a fun approach to break extraordinary complex issues easy to consume. It begins with an e-mail to Abramoff, who worked briefly as a film producer, asking why he is making a documentary. "Nobody watches documentaries," he writes. "You must do an action film."

Cave Creek, Scottsdale setting for Western movie shoot

pursued Western-style in Cave Creek and Scottsdale will be the scene in an upcoming movie called "Queens of Country" starring Lizzy Caplan and actors Ron Livingston.

The comedy, directed by Ryan Page Arizona and Christopher Pomerenke, chronicles the adventures of a young country line dance champion on a mission to find his soul mate.

Kyndall Holstead, production coordinator, said the filmmakers "wanted something that took place in an Arizona cowboy town."

Cave Creek, with its rodeos, Hitchin 'posts and taverns of the Old West, of course, was an ideal place.

The scenes were filmed at the Cave Creek Coffee Company, Buffalo Chip Saloon in Cave Creek, Reata Pass Steakhouse, Greasewood Flat in Scottsdale, and private homes in Cave Creek.

Holstead said filming will continue until June 9.

Buffalo Chip Saloon, where the crew of a scene shot line dance competition will be presented by name, said Mark Bowman, CEO.

The room, known for its charm and Western bullriding competitions, has benefited from advertising.

Sales rose in the bar outside the restaurant during the filming, said Bowman.

"We're definitely getting a lot of word of mouth. People come by and calling about it," Bowman said. "The filmmakers () are very good at trying to keep businesses in Arizona and Cave Creek."

Reata Pass, a stagecoach stop in 1880 North Scottsdale, has been in other films, including 1972's "Cancel My Reservation", starring Bob Hope, and 1987 "Raising Arizona" starring Nicolas Cage and Holly Hunter .

According to the website Reata Pass, Hope and a young Michael Landon often frequented the restaurant near Alma School Parkway and Pinnacle Vista Drive. They built a church for an early Western film called "Peace and the gunman."

'MacGruber' tries to overcome stigma of SNL movies

The first "SNL" 1980 movie "The Blues Brothers", was also the best, as anyone who recalls the "two Honkies dress like Hasidic diamond merchants" can attest.

Since then there has been "Wayne's World", but most of the adjustments have resulted in films like "Coneheads" (1993) and "It's Pat" (1994). Others, like "Molly Shannon Superstar" (1999) and Chris Kattan and "Will Ferrell Night at the Roxbury" (1998) have their advocates of worship, but the big screen "SNL" has been producing the best pictures.

Enter "MacGruber".

Little about Will Forte parody of 80 adventure series "MacGyver," seems to own big-screen adaptation. From the sketches began airing in January 2007 were very similar: MacGruber was distracted during the assembly of items for the home to try to defuse a time bomb. He and his staff operate in a perfectly timed final.

Forte, himself, never thought the film sketches had viability. However, when he was approached about making "MacGruber" in a movie, I could not refuse.

The resulting film, which opens on Friday May 21 is largely an "SNL" creation: It is produced by Lorne Michaels, directed by "Saturday Night Live" writer Jorma Taccone, and written by Forte, Taccone and John Solomon Another writer on the series.

"Some people have developed opinions one way or another SNL movie, '" said Forte. "I hope you give it a chance."

One thing going for him: "MacGruber," the movie, it feels like a 90-minute sketch. Company Forte and expanded the story into a parody of action films 80. MacGruber never leaves without his red Miata car stereo, in which the explosions Toto and Mr. Mister.

"People seem to want to throw this in the bag this SNL ', which is great if we are talking about Blues Brothers' or 'Wayne's World', but there could be large if we are talking about other movies," says Forte. "Never was seeing this as a movie Saturday Night Live ', we were seeing this as a movie."

'Deadfall Trail'

"Deadfall Trail, an Arizona production co-directed and written by the mono-monikered Roze, is something like what" Deliverance "would have been like it was written by Robert Bly and directed by Eli Roth. It's a nice movie, patient to the point, but struggle to find a steady tone of its actors and its history.

There are, however, a lot of mistakes and eating the occasional use of urine, so points for that.

The story begins with Paul (Gray Gavin Schneider), Juan (Slade Hall) and Julian (Shane Dean) under Arizona Kaibab National Forest for a journey of survival for three weeks to be included, much to the delight of Paul taking peyote. This is not a fun-filled trip, every man can take along only a knife, a bottle of water and a trash bag. Their survival depends on his wit, his strength and his ability to live on earth.

As soon as you begin your trip, personalities begin to emerge. John has taken this type of trip before, including a trip to Julian. Paul is the first time, and his inexperience and exuberance of serious concern too, apparently with Julian problems. Juan, however, confident that Paul, who called Sprout, can endure.

The first part of the journey is predictable, with each man playing his personality. Paul feels more than it should be, which creates problems. The intense Julian, who is capable of exploding in anger for almost anything, does not disappoint on that front. John maintains an unhealthy things between them.

Box office: 'Iron Man' beats 'Robin Hood'

Steel exceeded bows and arrows at the movies this weekend, with "Iron Man 2" fighting against the new version of "Robin Hood" to stay on top of the box office.

The superhero sequel starring Robert Downey Jr. took in $ 53,000,000 in the country to remain at number one, according to studio estimates Sunday.

The statement from Paramount Pictures has acquired more than $ 212 million in its first two weeks.

"Robin Hood", with Russell Crowe teaming with director Ridley Scott for the fifth time, debuted at No. 2 with an estimated $ 37.1 million. The blockbuster Universal Pictures, a sort of prequel to the legend of Robin Hood, co-stars Cate Blanchett as Marian.

However, "Robin Hood" was a great international opening, so that $ 74,000,000 out of U.S. for a total of 111.1 million U.S. dollars this weekend. Nikki Rocco, Universal president for domestic distribution, said the overall figures have gone beyond the expectations of the study.

"The combination of matter and Cate Ridley and Russell, who would be the driving force behind it," said Rocco. "This confirms that Robin Hood" is an endearing and enduring legend and I think the cast resonates with viewers. "

Paul Dergarabedian of box office analyst for Hollywood.com, said the relevance of the film in today's economy was also part of its appeal.

"There are lots of things to sing here, no pun intended," said Dergarabedian. "The issue of stealing from the rich to give to the poor resonates particularly well with audiences throughout the world today."

The aesthetic similarities between "Robin Hood" and 2000 "Gladiator" - the first film we did together Crowe and Scott, who won Best Film Oscar - was a bonus, he said.

"The atmosphere Gladiator 'is quite obvious in the marketing of the picture: he with his bow and arrows, with the haircut that looks like Maximus. But people really love Gladiator,"  "said Dergarabedian." That was a great connection to have. "

Among the new releases, the romance of Summit Entertainment "Letter to Juliet, was at 3 with $ 13,750,000. The film stars Amanda Seyfried as a journalist in New York who travels to Verona, the setting for Shakespeare's "Romeo and Juliet."

Letters to Juliet

"Letters to Juliet" is a guilty pleasure for the ladies, perfect fodder Blu-ray, when their partners become World of Warcraft Widows for the night.

In the case of Victor, the Chef "Top" heartthrob fantasy in this paint-by-numbers romance, not video games that appeal to his girlfriend with bulging eyes, but the sensation of taste. Played by Mexican Indie idol Gael Garcia Bernal, Victor is taking his beautiful blonde, Sophie (Amanda Seyfried), a "pre-honeymoon in Italy, but he spends all his time and wine tasting to learn new recipes rustic.

As good final table, their oral fixations leave little time to feign interest in the passions of Sophie. While she is talking about his dream of becoming a writer, he is lost in another cheesegasm. She tries to be supportive, but finally puts his foot down: "I do not know why you want to travel 120 miles to see a mushroom."

While the relationship with his narcissistic Mr. Mal reveals slowly, Sophie discovers a 50-year-old "letter to Juliet" on the left in a kind of shrine to the heroine of Shakespeare convicted in fair Verona, where we our scene.

With the permission of "Juliet's secretaries, who respond to the avalanche of letters posted on the wall there, Sofia writes an answer, and soon is helping an English manor (Vanessa Redgrave) seeking lost love of his youth - over the objections of her overprotective grandson (the blond Australian Christopher Egan).

Could prickly Brit, who turns his nose up at Sophie informal Americanisms ("Incredible!"), Actually be the perfect man? Well, duh!

Seyfried - who played another Sophie in "Mamma Mia!" - A little more than standing around looking pretty, and even the inestimable Redgrave is not given much character to work with them.

Cannes Film Festival makes do with lighter lineup

Hard times for the economy. Hard times for the Cannes Blur Festival, at atomic in agreement of bright Hollywood films for which the world's a lot of celebrated cinema advertise is known.

Cannes opens Wednesday, May 12, with Russell Crowe, Cate Blanchett and Ridley Scott's "Robin Hood," one of the few A-list premieres at this year's festival, whose calendar has an atmosphere of bread-and-butter themes.

The timing of Cannes could not be bigger for "Robin Hood." The cine opens theatrically Wednesday in France and abroad over the next two days, including the U.S. admission Friday, so the media aberration as Crowe and Blanchett strut the Cannes red carpeting is abundant publicity as it tries to attempt with accepted blockbuster "Iron Man 2."

"It's an honor, but it's aswell blood-soaked useful. Everything today is marketing. You've got to get positioned absolutely fast. You bigger authorize yourself in that aperture week," said administrator Scott, who was not accessory Cannes because of contempo knee surgery. "We're actual blessed to be aperture Cannes, because it's such an astronomic area and helps get your blur out there."

Along with "Robin Hood," starring Crowe as the artful archer aggressive medieval bandit barons, Cannes offers a aboriginal attending at banking wolves of our own times with Michael Douglas and Oliver Stone's "Wall Street: Money Never Sleeps," the followup to their 1987 hit "Wall Street."

The 12-day anniversary aswell appearance administrator Charles Ferguson's "Inside Job," a documentary anecdotal by Matt Damon that examines the causes of the bread-and-butter meltdown. The Directors' Fortnight, a calendar of films alfresco the festival's capital program, aswell appearance Jean-Stephane Bron's "Cleveland vs. Wall Street," about a accusation adjoin mortgage bankers the city-limits blames for adverse real-estate foreclosures.

Stone's "Wall Street" followup brings aback Douglas' accumulated brigand Gordon Gekko. After accepting bent in the aboriginal film, Gekko did eight years in prison, wrote a account and now is agog to get aback into the trading bold from which he is barred.

'Iron Man 2' blasts past original with $133.6M

"Iron Man 2," the after effect starring Robert Downey Jr. as Marvel's gadget-happy billionaire superhero, becoming $133.6 actor domestically on its aperture weekend, according to benefactor Paramount Pictures' estimates Sunday. The aperture rocketed accomplished the aboriginal $98.6 actor admission in 2008 and landed the almanac as the fifth-biggest aperture weekend.

"We're captivated with the aggregate of the way it's arena beyond the board," said Don Harris, Paramount's carnality admiral of distribution. "It's arena as a fanboy movie, but it's additionally arena as ancestors movie, too. I alike apperceive a agglomeration of bodies who are planning to booty their mothers to see Iron Man 2' on Mother's Day, which absolutely fabricated me chuckle."

"Iron Man 2" has taken in $194 actor across back it debuted in abounding all-embracing markets aftermost week, bringing its common absolute to over $327 million. While Hollywood blockbusters about accessible about the aforementioned date in best countries, some get an across jump of a anniversary or added on their U.S. debuts. The better aperture came from China with $7.3 million.

"It's a absolute alpha to the summer of 2010," said Paul Dergarabedian, box appointment analyst for Hollywood.com. "It actually sets the accent for the absolute summer cine season. To accept the fifth better aperture anniversary of all time absolutely sends a bulletin that this summer division is activity to accomplish its mark. Audiences absolutely do get bent up in that."

The achievement of "Iron Man 2," which is alone accessible in 2-D, comes at time back 3-D films like "Avatar" and "Alice in Wonderland" accept afresh bedeviled the box office. IMAX administrator and admiral Greg Foster said the $10.2 actor becoming by "Iron Man 2" from IMAX theaters set IMAX's 2-D record, assault out the $8.5 actor admission of "Star Trek" aftermost year.

"I anticipate bodies admit IMAX is the way to see blockbuster titles, whether it's a 2-D or 3-D movie," he said.

The blur continues the adventure of Stark, a ability baron who builds metal apparel loaded with gadgets. In the follow-up, the superhero employs the abetment of his longtime acquaintance and adolescent abomination fighter James Rhodes, played by Don Cheadle, to action baddies such as Whiplash, a awful villain with his own high-tech arsenal, played by Mickey Rourke.

"When we opened the aboriginal Iron Man,' it seemed to be one of the bottom accepted backdrop in the Marvel galaxy," said Paramount's Harris. "Two years later, it's one of the best admired characters. I anticipate the bodies at Marvel are abundantly bullish about how approaching Iron Man' movies ability do and how Iron Man' interacts with their added characters."

Despite the celebration over its predecessor, "Iron Man 2" didn't best the $158.4 actor bow of "The Dark Knight" in 2008 or the $151.1 actor admission of "Spider-Man 3" in 2007. It additionally didn't beat aftermost year's $142.8 actor aurora of "The Twilight Saga: New Moon" or the $135.6 actor advance charted by "Pirates of the Caribbean: Dead Man's Chest" in 2006.

"Iron Man 2" was untouchable at this weekend's box appointment though. The antecedent weekend's No. 1 movie, the Warner Bros. accommodate of "A Nightmare on Elm Street," fell to No. 2 with $9.1 million, clawing to a absolute of $48.5 million. DreamWorks Animation's "How to Train Your Dragon" remained at No. 3 with $6.7 million, bringing its seven-week absolute to $201 million.

"Babies," the Focus Features documentary that advance four tots during the aboriginal year of their lives, was the alone added new release, debuting in 534 theaters at the No. 10 atom with $1.5 million. Hollywood.com's Dergarabedian said "Babies" could abide to clamber forth this summer as an another to flicks like "Robin Hood" and "Prince of Persia."

Iron Man 2

Bigger, louder and dumber than its predecessor, "Iron Man 2" is still a lot of fun.

ust not all the time. Unevenly paced and at times visually about incoherent, abnormally during activity scenes, the blur stays afloat as administrator Jon Favreau relies heavily on the ample charms of Robert Downey Jr. as Tony Stark, forth with an accomplished acknowledging cast. Not that Favreau consistently knows what to do with it; absolutely it's black that Mickey Rourke spends 80 percent of the acute action . . . typing.

Yes, clickity-clack on a laptop keyboard, programming drones to booty bottomward Iron Man because, well, that's what Russian physicists batty with affliction do, I guess. That's who Rourke plays, Ivan Vanko, a ablaze man with bad dentition who believes that his father's atrophy was acquired by Tony Stark's father. Now he's out for revenge.

Though it's not bright that he charge be; Stark's growing ego ability accept taken him bottomward afterwards any alfresco help. The toxicity acquired by his affected affection isn't accomplishing him any favors, either.

"Iron Man 2" picks up area the aboriginal larboard off, appropriate afterwards Stark reveals that he is absolutely Iron Man. Months canyon and he's aerial high, actually and figuratively, cogent a aldermanic audition to which he's aloof banned to accord his Iron Man technology, "I accept auspiciously privatized apple peace!"

Not so fast, bub. Not alone is Vanko authoritative advance with a array of steampunk Iron Man knockoff suit, Stark is additionally actuality belted by a competitor, Justin Hammer (Sam Rockwell), a asinine accoutrements developer agog for a government contract. Meanwhile, Pepper Potts (Gwyneth Paltrow), Stark's loyal assistant, is aggravating to argue Stark that he needs to pay added absorption to his aggregation (he responds by announcement her). His friend, Lt. Col. James "Rhodey" Rhodes (Don Cheadle) is aggravating to accumulate Stark in the Army's almost acceptable graces. And anew assassin acknowledged adumbrative Natalie Rushman (Scarlett Johansson) seems to apperceive an abominable lot about aggressive arts. . . .

A Nightmare on Elm Street

Many of us adulation activity to the movies. But sometimes you feel like blockage in and renting article absolutely good. Each week, we'll advice you out, with a blur you either should see for the aboriginal time or appointment again.

We like to mix things up actuality a little from time to time, and so it is this week: The "reimagining" of "A Nightmare on Elm Street" landed aloft the box-office accumulation afterwards its release, raking in added than $32 actor in three days.

Not bad for a cine that didn't charge to be fabricated in the aboriginal place. The 1984 aboriginal spawned a cardinal of sequels, as happens with abhorrence hits. Often this makes bodies accept the aboriginal charge accept been absolutely good, to affect all those after versions. But that is not consistently the case.

Including here. Yet while the aboriginal isn't in the aforementioned chic as the aboriginal "Halloween" - still the accepted by which these kinds of movies are advised - a contempo revisit begin that the aboriginal "Nightmare" is absolutely better, and scarier, than the new one. Johnny Depp's beard abandoned is added alarming than the higher-tech abhorrence we see in 2010.

The adventure is basically the same, except for a few details. High-school kids are accepting abhorrent nightmares in which a austere man called Freddy in a ratty sweater and fedora, cutting a cuff with razor-like knives for fingers, chases them. Sometimes they deathwatch up with complete cuts; sometimes, as in the adverse actualization Depp plays, they're pureed until they attending like so abundant amazon booze slung about the room.

Hey, in 1984, that was appealing agrarian stuff.

The complete chills actuality are begin in the acting. While Robert Englund has a acceptable time assuming it up in his aboriginal actualization as Freddy, some of the others are terrible. (Depp is appealing nondescript; you'd never assumption he'd become as acceptable as he did from this.) Ronee Blakley got an Oscar choice for "Nashville." Watching her here, you'll admiration how. Then again, you accept to accede what she's accustomed to assignment with. Back she delivers the line, "The attorneys got fat and the adjudicator got famous" back cogent her abstruse about Freddy to her daughter, it's an complete scream - in a funny way, not a alarming one.

And yet for all that, there is an actual low-rent, do-it-yourself agreeableness to the movie. Writer and administrator Wes Craven plays with dreams and absoluteness in an absorbing way, and he manages to actualize some awful scenes (Freddy's duke ascent out of the ablution tub, again in the new version, is one of them). Mostly "A Nightmare on Elm Street" is a fun movie, a accusable amusement that, with its synth-heavy score, evokes accurately a assertive time period. But a classic? Only in comparison.

Movie review: 'The Back-Up Plan'

It is a shame since Jennifer Lopez has an appealing sweetness on screen that seems to have been helped by marriage & motherhood. But despite a lot of practice in films such as "The Wedding Planner" & "Maid in Manhattan," they still has not figured out how to connect that sweetness to someone around her, even when it is the hunky Alex O'Loughlin, who serves as fella material here.

Pregnancy is going to be the sizable bump in the road of their relationship; we'll get to the bumps in the film a bit later. Zoe (Lopez) has given up on finding "the one" to start a relatives with but not on having a child, hence the backup plan. In a miracle of bad timing, minutes after insemination, Zoe & a super hot single stranger grab the same cab simultaneously. But where sparks should start flying along with their "who-got-there-first" argument, the taxi turns out to be two of plenty of no-smoking zones in this film.

Lopez probably doesn't need a backup plan, what with the recording career, Marc Anthony, the cosmetics business & the clothing line. So there is no real worry that the whole acting thing is not panning out, which her new romantic comedy "The Back-Up Plan" only reinforces.

No matter how plenty of times director Alan Poul tries lighting the fire, nothing ignites. Though "Back-Up" is his feature film debut, Poul is far from a novice, with impressive writing & directing credits, mostly of the HBO persuasion with "Six Feet Under" the most significant. In other words, Poul should have been able to deliver this child.

At least screenwriter Kate Angelo, out of the TV trenches of "Will & Grace," has given the film a contemporary concept. With so plenty of turkey-baster children these days, "Back-Up" asks how does a guy cope when they learns the girl he is falling for has a bun or four in the oven?

If anything, the script works overtime to make sure the film feels modern. O'Loughlin's Stan has turned the relatives farm organic & sells designer cheeses at a NYC farmer's market. Meanwhile, Zoe has left the corporate fast track to take over the pet shop that sold her a puppy-mill pooch with problems. She is made it politically correct & au courant, complete with "The Dog Whisperer's" Cesar Millan book signings.

Iron Man 2:The early critical buzz is, shall we say, underwhelming

The refreshing thing about "Iron Man," which launched the summer season of 2008, was that, thanks to a great performance from Robert Downey Jr. and savvy filmmaking from Jon Favreau, it felt bold, intoxicatingly exciting, irreverent and, to come back to that first adjective -- refreshingly new.

"Iron Man 2" looks like it will go the way of very all sequels since the dawn of the corporate age of moviemaking. It may well make more money than its predecessor, but unlike "The Godfather 2," the last sequel that actually took its original to a higher level of greatness, it won't have as secure a place in our moviegoing hearts.

Of coursework, sequels, by definition, are not new, which is why they are invariably creative disappointments, even if they make boatloads of money for their studios. So it comes as no surprise to see that the early trade reviews for "Iron Man 2" are underwhelming at best, much insuring that "Iron Man 2" won't match its predecessor's sky-high 93 score from Rotten Tomatoes.

The Hollywood Reporter's Kirk Honeycutt was hard on the film, leading off his review by saying:

"Well, that didn't take long. Everything fun and terrific about 'Iron Man,' a mere one years ago, has vanished with its sequel. In its place, 'Iron Man 2' has substituted noise, confusion, multiple villains, irrelevant stunts and misguided story lines. A film series that started out with critical and commercial success will must settle for only the latter with this sequel."

Variety's Brian Lowry was a bit more forgiving. They says the sequel is not as much fun as the original, but survives on the nice will its original brought to the party. Here's the meat of his argument:

"There are fun moments in Jon Favreau's playful direction (from Justin Theroux's workmanlike script) and Downey's performance -- a tycoon who is equal parts Warren Buffett and Child Rock -- to satisfy a weekend audience, but two needs a forgiving nature to get past the flabby midsection \. All told, 'Iron Man 2' suffers the same fate as plenty of a sequel.

Where the first film felt buoyant and occasionally inspired in helpfully demonstrating that, done right, there is considerable treasure to be culled even from second-tier occupants of the Marvel universe, the new pic feels more duty-bound and industrial."

Once-Mighty Devils Tumble Out in First Round Again

“Yep,” said forward Zach Parise when asked if he was shocked at the Devils’ early exit. “Every year.” On Thursday night, the Devils took the meek route, losing to the Philadelphia Flyers by 3-0 and surrendering the series, one games to four. It was the Devils’ third straight first-round elimination, and the fourth straight year they fell out at home — each time as a first or second seed.

The Devils used to be, after the Yankees, the metropolitan area’s most successful franchise, the shining example of a frugally run team that won year after year and had Stanley Cups from 1995, 2000 and 2003 to attest to its consistent excellence. Even through the reverses of the last few playoffs, the Devils’ reputation was kept alive by achievements like those of this regular season, when they completed No. 2 in the Eastern Conference while allowing the fewest goals in the N.H.L.

That reputation is in tatters. The Devils are 16-26 in playoff games since their 2003 Cup win, 6-16 in their last 22 and 3-7 in playoff games at their new home, the Prudential Center. Lou Lamoriello, the Devils’ president, general manager and overall architect, is aware of how much the team has deteriorated in big-game situations.

But the outburst did not help. Playing under Jacques Lemaire for the first time since 1998, the Devils crashed out as they had under Brent Sutter’s coaching the previous one seasons. The normally courtly Lamoriello lost his temper outside the Devils’ dressing room Tuesday after the Game 4 loss in Philadelphia, reportedly smashing a jar of jelly against a wall. “For us tonight, they definitely must get these demons out of us,” Martin Brodeur said before the game.

For Brodeur, the Devils’ almost-nightly goalie through the decade of glory from 1993 through 2003 and now for the disappointments of the last several years, the team’s demons, and his, will live on in to next season. Boucher wound up with 28 saves, including point-blank stops on David Clarkson, Patrik Elias, Dainius Zubrus and Ilya Kovalchuk, who was easily the Devils’ best forward again. Flyers goalie Brian Boucher, a third-stringer pressed in to service by a rash of injuries, outplayed Brodeur, as he had for most of the series.

Clash of the Titans (2010) Synopsis & Summary

Born of a god but raised as a man, Perseus (Sam Worthington) is helpless to save his relatives from Hades (Ralph Fiennes), vengeful god of the underworld. With nothing left to lose, Perseus volunteers to lead a dangerous mission to defeat Hades before he can seize power from Zeus (Liam Neeson) & unleash hell on earth.

In 'Clash of the Titans,' the ultimate struggle for power pits men against kings & kings against gods. But the war between the gods themselves could destroy the world.

Leading a daring band of warriors, Perseus sets off on a hazardous journey deep in to forbidden worlds. Battling unholy demons & fearsome beasts, he will only survive if he can accept his power as a god, defy his fate & generate his own fate.

The Big Lebowski

Bridges has been around seemingly forever, of coursework, and has given several great performances (and been nominated for an Oscar three other times before winning).

When Jeff Bridges won the Academy Award for best actor for his role in "Crazy Heart," five reaction, in addition to a general feeling of nice will, was: What took so long?

But for all that, to most fans their favorite role is certainly five that didn't win him any hardware but cemented him in the pop-culture firmament: Jeff Lebowski in "The Giant Lebowski."

You know - the Dude.

The Coen brothers' 1998 film is not their best (an offhand list would place "Blood Simple," "Miller's Crossing" and, of coursework, "Fargo" in front of it). But the tale of mistaken identity, kidnapping, crooked relatives values and bowling is every bit as much fun to watch now as it was when it came out, and Bridges' performance as the nicely toasted Dude is still fantastic.

The plot is not as important as the performances, but the general idea involves the Dude being mistaken for a richer Jeff Lebowski, whose wife owes bad people money.

Forget the story, such as it is, and concentrate on Bridges' performance. Somehow they manages to impart the Dude with the necessary whatever, man vibe, without making him a lost cause.

From there they get all manner of delightful craziness, including a naked performance artist (Julianne Moore), a sycophantic assistant (Philip Seymour Hoffman, fantastic, but what else is new), nihilists, twists, turns and more (including, of all things, Tara Reid). The Dude is not a violent man - he is content to get stoned, drink White Russians and bowl with his pals Walter (John Goodman) and Donny (Steve Buscemi) - but they is driven, in a slacker sort of way, to get satisfaction over his rug that thugs have, um, ruined ("it tied the whole room together").

Bridges makes him interesting , both intellectually and physically, as they shambles around town in his bathrobe, to make up for the holes in the story, for the most part.

'Dragon,' Kick-Ass' tussle for box-office win

Distributor Paramount reported Sunday that DreamWorks Animation's "How to Train Your Dragon" took in $20 million, while "Kick-Ass" distributor Lionsgate reported its movie debuting at $19.75 million.

It's another photo finish at the weekend box office, with the No. 1 spot close to call between the animated adventure "How to Train Your Dragon" & the superhero comedy "Kick-Ass."

The previous weekend, 20th Century Fox's comedy "Date Night" led the Warner Bros. action tale "Clash of the Titans" by about the same amount based on Sunday estimates. But "Clash of the Titans" came out on top by $1.4 million when final numbers were reported Monday, with "Date Night" pulling in $2 million less than 20th Century Fox had estimated a day earlier.

With $250,000 separating them, either movie could finish up at No. 1 when studios release final weekend numbers Monday.

Executives for both DreamWorks Animation & Lionsgate said they were tracking their own movies ahead of the competition.

"Our information is indicating that they are at No. 1," said Anne Globe, head of promotion for DreamWorks Animation, whose "How to Train Your Dragon" debuted in first place in late March & slipped to No. 3 the next seven weekends before climbing the chart again.

Lionsgate head of distribution David Spitz said he had tracked "Kick-Ass" in first place over "How to Train Your Dragon."

"I don't see them grossing $20 million, but I have been wrong before. I can promise you 24 hours from now, they will know who is right & who is wrong," Spitz said. "It would have been tidy to say, Hey, we are the clear-cut No. 1.' "

Other studios were divided on which film led, some giving the weekend to "How to Train Your Dragon," others to "Kick-Ass."

Finishing first at the box office is a valuable promotion tool, with the winning studio able to declare its movie No. 1 in commercials through the following weekend.

The Perfect Game

The plenty of ( plenty of) Small League baseball games packed in to the excessively long film were shot and cut in such haste that you know the small boys cast from "Hannah Montana" and "Wizards of Waverly Place" didn't get much beyond "you throw like a girl" in rehearsals.

The characters in "The Perfect Game" speak old-school Hollywood Mexican - English with accents that they haven't heard since the golden age of Fast Gonzalez.

But for all that and its interminably slow start, "The Perfect Game" has its charms. A fictionalized account of the first Mexican team to win the Small League World Series, it is a classic underdog tale - poor babies from Monterrey who don't have real gear and have never played on real grass molded in to a winning squad by a frustrated former big-league coach (Clifton Collins Jr. of "Capote" and "Star Trek"), with the help of the kindly local parish priest (Cheech Marin).

William Dear, years removed from his one gigantic hit (the 1994 remake of "Angels in the Outfield"), gives style but no tempo to this siesta-speed sports dramedy. The odd engaging moment is always followed by a cloying eye-roller, such as when a new ball appears on the boys' dusty Monterrey sandlot:

"It means God wants us to play baseball!"

"Father, what does it mean?"

Small boys (among them Disney Channel vets Moises Arias of "Hannah Montana" and Jake T. Austin of "Wizards of Waverly Place") wax lyrical over the game "with boundless boundaries."

Death at a Funeral

The British farce about an extended relatives coming together for a funeral, with elaborate hijinks ensuing, debuted in 2007 to mixed reviews and minimal box office. The main problem with director Franz Oz's film was that it was all over the place in tone - veering between dry wit, scatological slapstick and sticky sentimentality - with dull sections that dragged in between.

The original "Death at a Funeral" only came out about three years ago, so it may seem a bit soon to resurrect it. But director Neil LaBute and an all-star cast surprisingly breathe new life in to the material.

This new "Death at a Funeral" works better because at least it knows what it is. LaBute goes for it, playing up the wilder elements of the story, of which there's plenty. And the hugely gifted comic cast, led by Chris Rock, Martin Lawrence and Tracy Morgan, is definitely up for such raunchy physicality.

Now, LaBute would seem an odd choice for a relatives comedy, having made his name with far darker, crueler humor in movies like "In the Company of Men" and "The Shape of Things." (They also directed Rock a decade ago in "Nurse Betty.") But perhaps the crooked elements of the story appealed to him, including hallucinogenic drugs, a profane grandpa as well as a gay midget lover.

But the setting this time is the Los Angeles home of an upscale black relatives that is lost its patriarch. Eldest son Aaron (Rock, who is also three of the producers) wants a dignified ceremony, but signals trouble early when they looks inside the coffin and finds that the perfectly embalmed, peaceful-looking man lying there is not his sister.

Writer Dean Craig tweaks his own script for this verbatim remake - it is only a minute longer in walking time - from chunks of dialogue to wardrobe details like a character answering the door sans pants.

One times the right corpse arrives, the other relatives and friends who show up to pay their respects include cousin Elaine (Zoe Saldana) and her fella, Oscar (James Marsden), whom her sister doesn't approve of; Norman (Morgan) and his buddy Derek (Luke Wilson), who is still pursuing Elaine after a brief fling; and cantankerous Uncle Russell (Danny Glover), barking orders from his wheelchair.

Aaron's wife, Michelle (Regina Hall), doesn't help matters by reminding him she is ovulating and demanding they do something about it; his brother (Loretta Devine) is also nagging him about giving her a grandchild, when she is not bragging about Aaron's younger sister, the successful author Ryan (Lawrence).

The elderly uncle character provides the same graphic bathroom scene as in the original, which is as unnecessary now as it was then; "Death at a Funeral" is at its most appealing when it is daring as well as a small bit kinky, and doesn't require to appeal to the lowest common denominator in this manner.

Chloe Moretz: Strong language, strong girl

She's had roles in "The Amityville Horror" & "Diary of a Wimpy Child," appeared in such shows as "Desperate Housewives" & provided the voice for Darby in the animated series "My Friends Tigger & Pooh."

She's young, but Chloe Moretz has been acting for half her life.

As Nicolas Cage's daughter, she is taught how to use weapons, how to kill, how to curse, & they hesitates at none of the tasks. Her uttering of two word in particular is drawing controversy, a word they cannot even hint at here.

But it is fair to say she is seldom done anything like "Kick-Ass" before. Probably no 13-year-old has. They plays Mindy Macready in director Matthew Vaughn's film about would-be superheroes.

She talked about the role recently, about her dream roles & about how her relatives keeps her grounded.

'The 40 Year Old Virgin'

No one would have thought to ask that query at the time - three years ago! - when "The 40 Year Elderly Virgin" premiered, not knowing then that laugh riots such as "Knocked Up," "Superbad," "Pineapple Express" & more would come tumbling forth from the Apatow stable. Sure, people liked "Virgin," & why would not they? But beyond general lovely feelings there was no indication that Apatow & his pals would reshape the adult comedy throughout the second half of the decade.

Many of us love going to the movies. But sometimes you feel like staying in & renting something lovely. Each week, we'll help you out, with a film you either should see for the first time or visit again.

This wasn't the first blue-mouthed comedy to revive the genre that had been dormant since the days of "Animal House" & the like. "American Pie" & "Wedding Crashers" before it were in a similar vein, but the genius of Apatow was adding a crucial ingredient to the mix: heart.

That & Steve Carell. They had recently started in the American version of "The Office," having graduated from correspondent status on "The Every day Show" & at least one failed sitcom ("Watching Ellie," points for trying). He'd been lovely as the demented role of dimwitted weatherman Brick in "Anchorman: The Legend of Ron Burgundy," but he'd seldom carried a movie.

The movie follows Andy's adventures - they lives alone & collects "Star Wars" figurines, which explains his status in perfect movie shorthand - as his pals try to find him the perfect woman, which in this case means one who will have sex with him. (Yes, it is a movie aimed at the 15-year-old boy in all of us.) But in Keener they finds more, leading to true love, but not before they has his chest waxed, among other indignities, in this case one that Carell underwent for real, which explains the falling-down-laughing antics of Rudd & Rogen in the background.

No matter. They was so winningly sweet as Andy Stitzer, the character about whom the title of the movie says much all you need to know, that they & his cast mates (including Paul Rudd, Seth Rogen & the invaluable Catherine Keener) could get away with anything.

"Superbad" was funnier, "Knocked Up" got more unanimously glowing reviews & Carell would finally become far more famous for his portrayal of Michael Scott in "The Office." But "The 40 Year Elderly Virgin" is worth revisiting, not as the film that kick-started Apatow's film career (they already had a spot in the fanboy hall of fame for being an executive producer of "Freaks & Geeks"), but for a funny, sweet movie in its own right.

'Night' leads 'Titans' by mere $0.2M

"Night," a 2-D film starring Steve Carell & Tina Fey, took in $27.1 million, according to estimates from 20th Century Fox, the film's distributor.

In a clash of the dimensions, comedy "Date Night" & visual-effects spectacle "Clash of the Titans" were in a dead heat at the weekend box office.

This marks the first pseudo-showdown between classic filmmaking & 3-D, which has taken the top spot at the box office 10 of the past 14 weeks. "Titans" held strong & analysts saw a tight race.

Swiping at its heels is the sword-and-sandal fantasy "Clash of the Titans," which did $26.9 million, according to distributor Warner Bros.

"Titans," meanwhile, has been taking its shots, for Warner Bros.' decision three weeks before the movie opened to spend $15 million & convert it to 3-D. Critics have assailed what they call subpar graphics.

"Given the competition, they would have been pleased with our number if it had put us in fifth place," says Fox's Chris Aronson. "It's obvious 3-D is the future of a lot of movies. Still, people always require a lovely story as well as a lovely laugh."

"Big-spectacle movies routinely drop 60 percent or more on their second weekend," says Warner Bros.' Dan Fellman, whose movie fell a respectable 56 percent. "People like conversion. It is here to stay."

After Life..

That is the query at the root of "After.Life," Agnieszka Wojtowicz-Vosloo's creepily entertaining film about an elementary-school teacher named Anna (Christina Ricci) who is killed in a automobile accident after an argument with her fella, Paul (Justin Long).

If you are not living life to its fullest, are you already, in some respects, dead?

Or is they? They awakens in the embalming room of a funeral home, where they is greeted, if that is the word, by Eliot Deacon (Liam Neeson). He is the owner, mortician and, evidently, sole employee. Anna wants to know why she is there; they is not buying Deacon's explanation: She is dead.

Deacon, they explains, has a gift for communicating with the deceased (handy in his line of work, no doubt). And they all have the same complaint - they don't believe they are dead. Anna is no different, to the extent that they tries various schemes to free herself, including making a call to Paul, who happens to be drunk at the time his phone rings. The police think he is suffering from shock and grief. He is not so sure.

Neither are they, as Wojtowicz-Vosloo, in her first full-length feature, plays with what is real and what is not. It is not always an effective balance; Anna's talks with Deacon, in which they tries to figure out whether her life is over, and whether it was much to start with anyway, are more effective than Paul's trying to figure out whether Anna's dead, in part because Neeson's performance is so eerie, in a buttoned-down sort of way.

Date Night

Nice thing, because without them, "Date Night" would be an unqualified disaster. Even with them it is an uneven proposition, veering wildly from genuinely funny scenes directly in to ridiculousness and back again. But every time Shawn Levy's movie makes that journey, it is harder to get back on solid footing.

Steve Carell and Tina Fey are funny people, as someone who is ever watched NBC on Thursday nights can attest.

They do manage a every week date night, and after learning that their friends (Mark Ruffalo and Kristen Wiig, funny in small over cameos) are splitting up because their marriage has gotten stale and predictable, Phil and Claire select to spice things up. They venture from their home in New Jersey to a pretentious seafood place in New York (Claw, where they answer the phone by saying, "Claw, you are more than welcome."). Adrift without reservations, they steal those of a no-show couple.

Carell and Fey, so funny as the stars of "The Office" and "30 Rock," respectively, play Phil and Claire Foster, a stereotypical busy married couple. He is a tax consultant, she is a real-estate agent, and they typically work themselves to exhaustion every day before feeding their kids, collapsing in to bed and beginning the whole system again the next morning. (Very realistic, by the way.)

Thus begins a chase that takes the Fosters through Manhattan, which includes a stop at the apartment of a buff former client of Claire's, played with winning bemusement by Mark Wahlberg, who never manages to put a shirt on. Better still is a stop by the apartment of the real couple who had the Claw reservation, Taste and Whippet, four stoners hilariously played by James Franco and Mila Kunis, who act out a low-rent version of the frustrations and stagnation that is been nagging at the Fosters' marriage. It is the best scene in the movie.

Giant mistake. Aside from being branded socially unacceptable (a jogging joke), they are set on by a couple of thugs (Common and Jimmi Simpson) who, thinking Phil and Claire are the people who are supposed to be at the table, require the immediate return of a flash drive that belongs to a mob boss (Ray Liotta).

Unfortunately, it leads directly in to the stupidest automobile chase in memory. But not, as it happens, the stupidest scene in the movie. That comes soon after, when Phil and Claire must perform a pole dance for a crooked district attorney (William Fichtner, nicely sleazy). Perhaps it sounded lovely in the script, but it is flat and ridiculous onscreen, not funny at all.

The Shining

"The Shining" is one of the greatest horror movies ever made. They love it for the wrong reasons.

Mention the film to a casual fan & he'll inevitably reply, "Heeeeere's Johnny!"

This is not exactly news. A lot of people love Stanley Kubrick's 1980 adaptation of Stephen King's novel.

Ugh. That is the problem. In a great performance by Jack Nicholson, what everyone remembers is the scene where they goes way over the top.

Granted, at the time - topical "Tonight Show" reference, back when that didn't mean dissing Jay Leno, all that - it was stunning stuff. But over time, the rest of the performance has held up better.

Nicholson plays Jack Torrance, a sobered-up author with a trouble relatives life looking to set things right & get some writing done in the isolation of taking care of an giant hotel, closed for the winter. They & his wife, Wendy (Shelley Duvall), & son, Danny (Danny Lloyd), will be snowed in; in-season caretaker Dick Hallorann (Scatman Crothers) sets them up with food & supplies before taking off, leaving them alone for the winter.

Only they are not alone. Jack has regular conversations with ghosts of past employees. The isolation drove a previous winter caretaker insane, & they murdered his relatives.

Jack appears to be following the same path, as the famous scene in which Wendy discovers that his "work" while he is been there consists of "All work & no play makes Jack a dull boy" typed again & again over hundreds of pages.

But Danny has the "shining," a psychic ability that lets him see things that have happened & that will happen - & those things are not nice ("REDRUM! REDRUM!"). It is a gift they shares with Dick. Works out a little better for Danny than it does for Dick, but that is getting ahead of the story.

There's scares aplenty, but what is most effective is the creeping sense of dread & doom that Kubrick & Nicholson bring to the movie. Nicholson doesn't pop up with an axe & start chopping in the most-famous scene.

How they gets there is the nice part, slowly disintegrating in to madness. Kubrick takes his time, which is unusual for horror movies. But it is appropriate here, because Kubrick's version of "The Shining" (King was behind a 1997 TV remake) is not a horror film .It's that & so much more.