In delivering PG-13-rated excitement, Alien vs. Predator is an acceptably average science-fiction action thriller with some noteworthy highlights, even if it squanders its opportunity to intelligently combine two popular and R-rated franchises. Rabid fans can justifiably ask Is that all there is? after a decade of development hell and eager anticipation, but we're compensated by reasonably logical connections to the Alien legacy and the still-kicking Predator franchise (which hinted at AVP rivalry at the end of Predator 2); some cleverly claustrophobic sets, tense atmosphere and impressive digital effects; and a climactic AVP smackdown that's not half bad. This disposable junk should've been better, but nobody who's seen Mortal Kombat or Resident Evil should be surprised by writer-director Paul W.S. Anderson's lack of imagination. As a brisk, 90-minute exercise in generic thrills, however, Anderson's work is occasionally impressive... right up to his shameless opening for yet another sequel.
In the third season of Angel, the titular vampire with a soul was forced to stand alone thanks to the (temporary) death of his beloved Buffy and her show's move to a new network, with no crossover between the two allowed. He returns from seeking peace in a demon-haunted monastery to find the L.A. Angel Investigations team fighting supernatural crime in his absence. Fred is still haunted by the nightmare dimension from which they rescued her; Cordelia's visions get ever more painful and debilitating. The schemes of the evil law firm Wolfram and Hart become every more imaginative and dragon lady Lilah Morgan becomes even more of an enemy when lusting after Angel. Unbelievably, Darla, Angel's vampire sire and lover, turns up, pregnant with his child and is tortured by inexplicable motherly feelings as well as a raging thirst for human blood.
The second season of Angel saw the cult vampire show finally stand on its own from Buffy the Vampire Slayer, assembling all the members of the show's core cast, transferring the action to a fashionably run-down L.A. hotel, and bringing in a few Buffy characters from Angel's history to further establish the moody vampire's own mythology. Moving their Angel Investigations to posher digs, Angel (David Boreanaz), Cordelia (Charisma Carpenter), and Wesley (Alexis Denisof) were soon joined by street fighter (J. August Richards)--and by street fighter, of course we mean demon street fighter. But just as this group was solidifying, up popped Angel's old love, Darla (the fantastic Julie Benz), freshly arrived in L.A. from a hell dimension? just in time to be turned into a vampire again by her old cohort, Drusilla (Juliet Landau), and lure Angel into abandoning his newly formed team.
La vie d'un agent de publicité égocentrique de New York est bouleversée quand il décroche le combiné d'un téléphone public qui sonne. La personne à l'autre bout du fil semble tout connaître de sa vie et menace de le tuer s'il raccroche.
Un patient émerge d'un coma dans une chambre vide? dans un hôpital abandonné? dans une ville déserte. Un virus puissant, qui maintient les victimes dans un état de rage meurtrière permanente, a transformé le monde autour de lui en une étendue apparemment dévastée. Maintenant une poignée de survivants doivent se battre pour rester en vie, sans savoir que le pire reste à venir...
Suite à un accident, Matt Murdock est devenu aveugle quand il était petit. Bien que ses yeux ne fonctionnent plus, ses autres sens se sont développés de façon surhumaine. Le jour il travaille comme un avocat et la nuit il combat le crime en utilisant ses habiletés spéciales, devenant ainsi Daredevil le superhéros. Alors qu'il lutte contre ses pires ennemis, Murdock tombe sous le charme d'une femme mystérieuse. Ce qu'il ignore c'est que la nuit elle devient Élektra.
This unclassifiable but stunningly original film obliterates the walls between teen comedy, science fiction, family drama, horror, and cultural satire--and remains wildly entertaining throughout. Jake Gyllenhaal (October Sky) stars as Donnie, a borderline-schizophrenic adolescent for whom there is no difference between the signs and wonders of reality (a plane crash that decimates his house) and hallucination (a man-sized, reptilian rabbit who talks to him). Obsessed with the science of time travel and acutely aware of the world around him, Donnie is isolated by his powers of analysis and the apocalyptic visions that no one else seems to share. The debut feature of writer-director Richard Kelly, Donnie Darko is a shattering, hypnotic work that sets its own terms and gambles--rightfully so, as it turns out--that a viewer will stay aboard for the full ride.
He's hunky, he's brooding, he's a do-gooder, and he was Buffy's first boyfriend. Angel, the tortured vampire destined to walk the earth with a soul, got his own series after three seasons on Buffy the Vampire Slayer and did what any new star might do: he moved to L.A. (the City of Angels--get it?) and set up shop. Angel (co-created by Buffy mastermind Joss Whedon) finds the titular vampire (David Boreanaz) as a kind of supernatural private investigator, fighting evil one case at a time and, like his ex-girlfriend, keeping the world from getting destroyed by vengeful demons and such.