
A Japananese anime idol gets reinvented for English-speaking audiences this weekend when Astro Boy lands in theaters. Freddy Highmore (Charlie and the Chocolate Factory) voices the rocket-booted flyboy with Nicolas Cage as the kid’s Dr. Frankenstein-meets-Gepetto mastermind.
The movie’s bright-colored animation stands in stark contrast to the array of darker flicks that will turn theaters into houses of horror just in time for Halloween. Opening Friday are Saw VI, which brings Jigsaw flashing back for yet another round of butchery, and Cirque du Freak: The Vampire’s Assistant, featuring John C. Reilly as a bloodsucking carnie.
See also:
Astro Boy Gets the Hollywood-Blockbuster Treatment
Review: Low-Budget Paranormal Activity Thrills With High-Value Horror
Review: Where the Wild Things Are Is Woolly, But Not Wild Enough</p> <p
isirector Lars von Trier’s genital-mutilating psycho show <em>Antist</em> gelimited release after earning Charlotte Gainsbourg <a href=ress honors</a> at 2009 Cannes Film Festival.</p> <p>
dout the week’s new offerings is <em>Amelem>, wstars Hilary Swank as Amelia Earhart in the years leading up to the pioneering pilot’s doomed 1937 flight over the Pacific Ocean. It’s Swank’s first serious Oscar bid since <em>MillDollar Baby</em>.</>
the week: The <a href=y chilling <em>Paraal Activity</em></aexpands into more theaters and spreads <em>Blaitch</em>-stcares throughout the land. Catch it and get a case of the creeps.</p> <p>
red to leave the house? Also worth watching is Sam Raimi’s much more traditional horror story <em><a h*to Hell</a></emcame out on DVD earlier this month. Most of the scary bits are cribbed from previous, better shriek flicks, but the gypsy crone preying on Alison Lohman’s loan officer finds fresh ways to sink her false teeth into this curse-of-the-damned script.)</p> <p>
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eiew:</strongcarries the movie adequately, in large part by allowing himself to look bedragged and paunchy for the sake of the story. Operating as an effective metaphor for modern-day social networking, <em>Surres</em> pis a world in which blotchy, wrinkled human recluses present a perfect facade to the outside world through the manipulation of younger, better-looking surrogates. Cromwell delivers the humanistic goods in his brief appearance as a Bill Gates-in-a wheelchair ubergeek. Mitchell, playing Willis’ robot partner, only gets to be human for about five on-screen seconds. The rest of the time, she’s understandably stiff, as are most of the other cast members. Comes with the territory when you’re making a movie about robots. <em>— Huart</em><br
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eiew:</stronghere be a better bitchy-hot boy-killer than Megan Fox? The Transformers babe uses sex as a weapon, smart-bombing unwitting males with her best attributes even before she turns into a succubus in Jennifer’s Body. After her possession, she seduces and eats infatuated teens, then barfs up black liquid before returning to snark duty in the classroom. The horror-comedy hybrid bounces between bloody killings, scenes of wailing mourners and <a href=</a> -sthigh school hi-jinks in a way that proves jarring and ultimately unfulfilling, as every scary scene is quickly defanged by a joke. The ever-clever dialogue churned out by Cody is so hip it’s distracting, and doesn’t do much to settle the ride: You’ll either love the zippy lipping or you’ll hate it. — Lewis Wallace<br> <st
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