There’s a line of text in the closing moments of Matteo Garrone’s Gomorrah (Gomorra in Italian) that states the Camorra crime families depicted in the film have contributed funds to the rebuilding of the twin towers in New York. This revelation alone provokes a greater emotional response than anything in the preceding two hours of criminal activities.

Focusing on five cross-generational crime stories in modern Italy, Gomorrah won the Grand Prix at 2008’s Cannes Film Festival and so inevitably comes with a considerable weight of expectation. Whereas Alejandro González Iñárritu (Amores Perros, Babel) or Tarantino would weave their apparently unrelated tales into a cohesive whole as the disparate elements come together around a central event (a car crash, a coffee shop hold-up), Garrone’s film keeps his snapshots of criminal life, for the most part, separate. The narrative jumps between stories (impressionable young gun runners, old-guard gangsters etc.) with wilful abandon, giving the impression of documentary snapshots rather than a fully formed picture. A conspicuous lack of score for the majority of the film, and the inevitable ‘gritty’, hand-held camera work adds to this effect. These are down-and-dirty thugs, lacking any glamour associated with the gangster genre. The slum aesthetic (see Tsotsi, La Zona, City of God) has no place for Goodfellas‘ tailored suits or mink coats, and it works.

The criminals themselves are refreshingly authentic, from respectable but unassuming businessmen types to a couple of teenagers who fancy themselves as Tony Montana. It’s made explicitly clear that the duo idolise this anti-hero, role playing with real (initially un-loaded) guns, but fail to understand the crass and despicable end to Tony’s American Dream. I hardly need to say, this leads to bloodshed. Commentary of this kind has been done far more subtly and effectively in the The Sopranos for one. Here it seems forced and clumsy. Hey, guess what? These kids have watched too many gangster movies and idolise fictional villains because they lack responsible role models. Yawn.

Despite its lengthy running time, the characters remain broad sketches defined largely by their status in the criminal empire. And this is of course partly the point – you’re nobody unless you’re involved in some form of nefarious activity. But in focusing on this to such an extent there’s a very hollow core to the film, with little commentary on the proceedings to fill the void. Some facile moralising as strands are tied up just doesn’t stick.

The ingredients are all in place; the sudden eruptions of violence, the intergenerational feuds, the painfully young kids pulled into a life of crime, even the González Iñárritu-borrowed Biblical title. But none of this has the streak of humanity that made City of God so mesmerising. For me Gomorrah lacks what ultimately makes any film a success, whether it’s the crudest comedy, a lavish period drama or a tasteless horror; the ability to move the audience.

David Duchovny has signed on to play a father living a lie in the upcoming dramedy, The Joneses, according to The Hollywood Reporter.

The actor, who entered rehab last month for sex addiction, will star alongside Demi Moore, Amber Heard and Gary Cole in the film about a faux family feigning the picture of a perfect clan as a marketing ploy to introduce luxury products to neighborhoods.

Duchovny will play the bogus father, who is currently undergoing a “crisis of confidence” due to the phony life he’s leading, while Moore will portray the career-driven mother who’s struggling with her growing affection for Duchovny’s character.

Heard, who most recently appeared in Pineapple Express, will play their fake daughter, who herself is putting the moves on Duchovny’s character while looking for a rich sugardaddy.

Cole, who will next be seen on Chuck, will play a neighbor.

Echo Lake’s Doug Mankoff and Andy Spaulding will produce the flick with Kirsti Zea ( Goodfellas). Filming starts next month in Atlanta

From: Tvguide.com

With everyone else dead and rotting, it’s up to Hoffman (Costas Mandylor) to continue Jigsaw’s murderous traditions. When he feels that his identity might be discovered, the killer has to use all his training as a detective to track down anything–and anyone–that might expose him.

A clip of the opening sequence was shown at Comic-Con 2008 and added to the film’s official website on September 17, 2008. A man named Seth awakens to find himself chained to a table, looking up at a razor-edged pendulum on the ceiling. A videotaped message from Billy reveals that Seth had been sentenced to life in prison for murder, but was released on a technicality after five years. The pendulum descends toward him as it begins to swing; after 30 seconds it will be close enough to touch his skin, and after 60 seconds it will cut him in half. Seth is told that in order to save himself, he must “destroy the things that have killed — your hands” by inserting them into two presses and pushing the starter buttons inside. He does so, the presses crushing his hands, but the pendulum continues its descent. The clip ends at the 50-second mark when the title card comes up; Seth’s fate is left unrevealed

“Saw V” is directed by David Hackl

Theatrical Release: Oct 24, 2008 Wide

French director Alexandre Aja adds to his growing canon of horror features with this remake of the Korean feature GEOUL SOKEURO (2003). Kiefer Sutherland stars as Ben Carson, a disgraced former New York City cop who attempts to put his… French director Alexandre Aja adds to his growing canon of horror features with this remake of the Korean feature GEOUL SOKEURO (2003). Kiefer Sutherland stars as Ben Carson, a disgraced former New York City cop who attempts to put his checkered past behind him by taking a job as a security guard. Carson is required to take the night shift in a department store in the city. The store closed down after a fire put an end to its business, and Carson soon discovers that malevolent spirits are lurking behind its walls. The spirits connect with the human world through the mirrors in the store, and when they discover Carson’s presence they go after his ex-wife, Amy (Paula Patton), and his kids (played by Erica Gluck and Cameron Boyce). Carson attempts to figure out the meaning of a cryptic message carved into one of the mirrors, hoping it will save his family and cut off contact with the malignant lurking presence. Aja successfully replicates much of the tension and edge-of-your-seat moments that he managed so skillfully in HAUTE TENSION (2003). The film begins with an unnerving set piece in which Carson’s predecessor takes a shard of mirror and slashes his own throat, and it’s an indication of the gore-filled fun that awaits intrepid viewers. Aja creates a palpable sense of unease by shooting dim-lit set pieces in the department store. Sutherland makes for a convincing lead in a character that closely resembles his turn as Jack Bauer in 24. There are plenty of genuine scares in the film, and the director ultimately spins MIRRORS as a cross between a psychological thriller in the vein of the POLTERGEIST movies and a no-holds-barred splatter flick.

Based on an extraordinary true story, DEFIANCE is an epic tale of family, honor, vengeance and salvation in World War II. The year is 1941 and the Jews of Eastern Europe are being massacred by the thousands. Managing to escape certain death, three brothers take refuge in the dense surrounding woods they have known since childhood. There they begin their desperate battle against the Nazis. Daniel Craig, Liev Schreiber and Jamie Bell star as brothers who turn a primitive struggle to survive into something far more consequential – a way to avenge the deaths of their loved ones by saving thousands of others. At first it is all they can do to stay alive. But gradually, as whispers of their daring spreads, they begin to attract others – men and women, young and old – willing to risk everything for the sake of even a moment’s freedom. Tuvia (CRAIG) is a reluctant leader and his decisions are challenged by his brother, Zus (SCHREIBER) who worries that Tuvia’s idealistic plans will doom them all. Asael (BELL) is the youngest – caught between his brothers’ fierce rivalry. As a brutal winter descends, they work to create a community, and to keep faith alive when all humanity appeared to be lost.

Release date US: Friday, December 12, 2008