Rent-a-baby Traffic policeman Leo Fink has two passions: Firstly the revolutionary programme he invented and developed which shall avoid any kind of traffic jam and secondly Vera Becker, head of the traffic guidance department. She, however, ignores him - at least until she sees him carrying a baby. Suddenly, the single woman, otherwise so cool, gets interested in Leo who, in turn, scents that this is his big chance. He is rather sure that he will be able to win her over to his side with the help of the baby and his pioneering plan against traffic jams which he wants to introduce to her in a presentation. But there is a small problem: Little Felix is not his son.
Overall, Lee Cronin’s The Mummy is plagued by numerous flaws, both from a quality and from a diversity standpoint. The film relies on gore and loud sounds to drown out its flat script, flatter dialogue, and one-dimensional characters.
Dramatic Horror!!! Wait, what?? Did you say "dramatic horror"?? IS there such a thing?? I mean, TRULY. Well, if San Francisco-based, Pakistani-born independent filmmaker Dr. Hassan Zee and this film critic have anything to say about it, there IS such a beast as experienced through the director's newest feature film set to officially debut October 4th in the City by the Bay. Folks, indie film will always be a bastion of experimentation and originality, and this film for me fits that bill.
A family adventure film that features Hawaiian culture with a representative director and a diverse cast.
In Stowaway, director Joe Penna narrates the story of a starship crew (Anna Kendrick as Zoe Levenson; Toni Collette as Marina Barnett; and Daniel Dae Kim as David Kim) struggling with serious technical problems on a two-year mission to Mars. During the trip, they discover aboard the presence of Michael (Shamier Anderson), a stowaway who jeopardizes everyone’s life on board.
When science, Bruce Banner is exposed to gamma radiation from his experiment, he transforms into a gigantic green monster when he gets angry and wreaks havoc wherever he goes.
Curry Barker’s film, Obsession, soars in success this past May leaving everyone who has watched it in extreme chills and disturbance. And taking it to new levels of why men are always the root of horror films even when they try not to be.
