Justine (Jennifer Aniston) feels doomed at 30, trapped behind the cosmetics counter at work, disappointed by her pot-head husband at home. Then her attentions unleash a love-sick Frankenstein in a co-worker (Jake Gyllenhaal) and new depths in herself.
You can tell from Baja Fresh's motto, “No microwave! No can openers! No freezers! No lard! No MSG!” that this chain of Tex-Mex fast food is a king among men, so to speak. You can eat food that is fast and tasty, and not overwhelmed by a dunk in the deep fryer. And it's cheap. A family of three can have a hearty dinner for $21. For ambience, think highway restop: bright lights, menu on the wall, line up to order, self-serve drink bar, plastic tableware, etc. But don't let the décor fool you, the food is much more interesting, and more healthful than traditional fast-food fare.
The Pig sticks to its original down and dirty blues roots by proudly defying the current trend of programming DJs and electronic music. The sounds from this stage are made by real people playing real instruments, which makes the Blind Pig an oasis in a digital world for local groups as well as national acts.
This is such a sub-Merchant-Ivory confection that it hardly seems worth mentioning that it was directed by Neil LaBute, past master of the harsh scenario. Aaron Eckhart, Gwyneth Paltrow, Jeremy Northam and Jennifer Ehle star in parallel love tales playing out a century or so apart.
Like any hard-core porn that bothers with story, this film mostly jury-rigs setups for the explosive money shots. Vin Diesel plays an extreme sports hero who takes on a lethal mob of Russian anarchists.
Michael Haneke's latest work is a monotone of despair, a case study in the ludicrous, and the winner of the Grand Jury prize at Cannes in 2001. It seems like one of those films that people congratulate themselves for being able to discuss with a straight face. Isabelle Huppert, also praised at Cannes, plays the sexually troubled title character.
A poor soul who has burned down his furniture store for the money finds himself dogged by the ghost of a man he once swindled, who in turn is being followed by the ghost of a hanged man still wearing his noose. Swedish writer-director Ray Andersson is, at turns, original, impressive, slow and obvious.