Based on a true story, this production relates the tale of Canadian mind-control victims from the early 1950’s, the CIA funds a Montreal psychiatric hospital to do mind-control experiments on patients in what has become known as “Project MK-ULTRA”. Thirty-some years later, the patients want justice…
Based on the long-running Broadway play by Dennis Reardon, The Happiness Cage, a multinational filmmaking effort, is a drama about medical experimentation in the U.S. military. The experiment is a brain operation which removes pain, replacing it either with bliss or sensual satisfaction. It is at first attempted on terminal cancer patients, but finally the doctors receive permission to test the procedure on a healthy but thoroughly obnoxious subject (Christopher Walken).
A team of genius-but-broke grad students invent mind-reading technology that destroys their lives and threatens the future of free-will itself.
“Sucker Punch” is an epic action fantasy that takes us into the vivid imagination of a young girl whose dream world provides the ultimate escape from her darker reality. Unrestrained by the boundaries of time and place, she is free to go where her mind takes her, and her incredible adventures blur the lines between what’s real and what is imaginary. She has been locked away against her will, but Babydoll (Emily Browning) has not lost her will to survive. Determined to fight for her freedom, she urges four other young girls-the reluctant Sweet Pea (Abbie Cornish), the outspoken Rocket (Jena Malone), the street-smart Blondie (Vanessa Hudgens) and the fiercely loyal Amber (Jamie Chung)-to band together and try to escape a terrible fate at the hands of their captors, Blue (Oscar Isaac) and Madam Gorski (Carla Gugino), before the mysterious High Roller (Jon Hamm) comes for Babydoll. Led by Babydoll, the girls engage in fantastical warfare against everything from samurais to serpents, with a virtual arsenal at their disposal. Together, they must decide what they are willing to sacrifice in order to stay alive. But with the help of a Wise Man (Scott Glenn), their unbelievable journey-if they succeed-will set them free.. — (C) Warner Bros
Reality and video games merge in this high-concept sci-fi action thriller from Crank creators Mark Neveldine and Brian Taylor. In the not too distant future, mind-control technology allows humans to control the actions and movements of other humans, allowing reclusive billionaire Ken Castle (Michael C. Hall) to create the ultimate video game. It’s called “Slayers,” and it’s a mass-scale, multiplayer online first-person shooter that’s as controversial as it is popular. In the world of gamers, Simon (Logan Lerman) is a rock star; miraculously managing to keep his character alive week after week, he racks up frags like Billy Mitchell jumps barrels. But unlike Mitchell’s Mario, Simon’s video-game avatar is a living, breathing human being named Kable (Gerard Butler). Defying the odds to keep Kable running and gunning though even the most explosive battles, Simon captures the imagination of a global audience. Torn from his family, thrown into prison, and forced to fight against his will, Kable realizes that his only hope of ever seeing his family again is to somehow escape the game, reclaim his identity, and expose Castle’s dehumanizing technology on live television. ~ Jason Buchanan, Rovi
Nelson McCormick’s paranoid thriller Control Factor stars Adam Baldwin as Lance Bishop. One day, Lance is attacked by a total stranger as he walks down the street, begins hearing voices, and believes those voices are encouraging him to kill his wife (Elizabeth Berkley). Lance discovers that he is the subject of a government plot to control the people of the world.
A psychological thriller in which a career soldier, Army Major Bennett Marco, grows suspicious about his experiences in Desert Storm after Squad Sergeant Raymond Shaw, son of the powerful Senator Eleanor Shaw, becomes a candidate for Vice President.
A U.S. Army hero returns to New York from Korea, but has been mysteriously programmed by Communists to assassinate a presidential nominee, but when his Army buddy becomes suspicious of the goings on, he is on the trail to stop him.
Visionary filmmaker Christopher Nolan (Memento, The Dark Knight) writes and directs this psychological sci-fi action film about a thief who possesses the power to enter into the dreams of others. Dom Cobb (Leonardo DiCaprio) doesn’t steal things, he steals ideas. By projecting himself deep into the subconscious of his targets, he can glean information that even the best computer hackers can’t get to. In the world of corporate espionage, Cobb is the ultimate weapon. But even weapons have their weakness, and when Cobb loses everything, he’s forced to embark on one final mission in a desperate quest for redemption. This time, Cobb won’t be harvesting an idea, but sowing one. Should he and his team of specialists succeed, they will have discovered a new frontier in the art of psychic espionage. They’ve planned everything to perfection, and they have all the tools to get the job done. Their mission is complicated, however, by the sudden appearance of a malevolent foe that seems to know exactly what they’re up to, and precisely how to stop them. ~ Jason Buchanan, Rovi
Based on the graphic novel by Alan Moore, V for Vendetta takes place in an alternate vision of Britain in which a corrupt and abusive totalitarian government has risen to complete power. During a threatening run in with the secret police, an unassuming young woman named Evey (Natalie Portman) is rescued by a vigilante named V (Hugo Weaving) — a caped figure both articulate and skilled in combat. V embodies the principles of rebellion from an authoritarian state, donning a mask of vilified would-be terrorist of British history Guy Fawkes and leading a revolution sparked by assassination and destruction. Evey becomes his unlikely ally, newly aware of the cruelty of her own society and her role in it. ~ Cammila Albertson, Rovi
Stanley Kubrick dissects the nature of violence in this darkly ironic, near-future satire, adapted from Anthony Burgess’s novel, complete with “Nadsat” slang. Classical music-loving proto-punk Alex (Malcolm McDowell) and his “Droogs” spend their nights getting high at the Korova Milkbar before embarking on “a little of the old ultraviolence,” such as terrorizing a writer, Mr. Alexander (Patrick Magee), and gang raping his wife (who later dies as a result). After Alex is jailed for bludgeoning the Cat Lady (Miriam Karlin) to death with one of her phallic sculptures, Alex submits to the Ludovico behavior modification technique to earn his freedom; he’s conditioned to abhor violence through watching gory movies, and even his adored Beethoven is turned against him. Returned to the world defenseless, Alex becomes the victim of his prior victims, with Mr. Alexander using Beethoven’s Ninth to inflict the greatest pain of all. When society sees what the state has done to Alex, however, the politically expedient move is made. Casting a coldly pessimistic view on the then-future of the late ’70s-early ’80s, Kubrick and production designer John Barry created a world of high-tech cultural decay, mixing old details like bowler hats with bizarrely alienating “new” environments like the Milkbar. Alex’s violence is horrific, yet it is an aesthetically calculated fact of his existence; his charisma makes the icily clinical Ludovico treatment seem more negatively abusive than positively therapeutic. Alex may be a sadist, but the state’s autocratic control is another violent act, rather than a solution. Released in late 1971 (within weeks of Sam Peckinpah’s brutally violent Straw Dogs), the film sparked considerable controversy in the U.S. with its X-rated violence; after copycat crimes in England, Kubrick withdrew the film from British distribution until after his death. Opinion was divided on the meaning of Kubrick’s detached view of this shocking future, but, whether the discord drew the curious or Kubrick’s scathing diagnosis spoke to the chaotic cultural moment, A Clockwork Orange became a hit. On the heels of New York Film Critics Circle awards as Best Film, Best Director, and Best Screenplay, Kubrick received Oscar nominations in all three categories. ~ Lucia Bozzola, Rovi
Jerry Fletcher (Mel Gibson) is a New York City cab driver who seems to have absorbed every bit of crackpot information passed along as “suppressed news” that’s surfaced on talk radio or the Internet in the past 20 years. Anti-United Nations militia men who are actually U.N. operatives? NASA scientists engineering earthquakes? Oliver Stone’s secret life as a government agent discrediting conspiracy theorists? Jerry’s heard ’em all and believes most of them, and even publishes his own journal of forbidden information, with a subscription list that now totals five people. In short, Jerry seems like just another New York City lunatic, and while he spends a fair amount of his spare time following Alice Sutton (Julia Roberts), a government attorney, Alice regards him as harmless; he once intervened while she was being mugged, and he’s been acting like her benign if whacked-out protector ever since. However, one day Jerry is kidnapped and worked over by CIA operatives; he is convinced that one of the theories he uncovered must be for real — but he has no idea which one. He tries to get Alice to help him, and before long both are drawn into a dangerous web that leads to a startling revelation of just how Jerry got this way. Mel Gibson gives a fine comic performance, and those with a taste for alternative media will have fun dissecting which of the theories Jerry spouts are “real” (or at least appeared before this film was made) and which were the invention of the screenwriters. ~ Mark Deming, Rovi
n an attempt to help people who experience recurring nightmares, a research program is using psychics to enter the patients’ dreams. The studies are going well, until the President of the U.S. becomes one of the patients, and a psychic assassin attempts to kill him in his sleep.
A tortured man finds himself caught in a middle-ground between hallucination and reality in this supernatural thriller, scripted by Bruce Joel Rubin of Ghost (1990) and My Life (1993). Jacob Singer (Tim Robbins) is a soldier stationed in Vietnam who undergoes a traumatic experience on the battlefield – the nature of which is initially unclear. The film then moves into his post-Vietnam experience in 1970s New York, where he feels consistently traumatized, but can never quite remember exactly what happened to him in Southeast Asia or to free himself from his anxieties over the recent tragic death of his young son (Macaulay Culkin). Though well educated, Jacob works as a letter carrier for the U.S. Postal Service and has become romantically involved with one of his co-workers, Jezzie (Elizabeth Pena), after divorcing his wife. Soon, Jacob’s tenuous hold on reality starts to slip as horrifying events befall him; he is nearly run over by a subway train, pursued by faceless demons in cars, and spots reptilian tails and horns protruding from the bodies of those he encounters. Jacob also suffers severe panic attacks related to the chaos that may be reality, or may exist only in his mind. He seeks counsel from Louis (Danny Aiello), a kindly chiropractor, as his ex-wife Sarah (Patricia Kalember), fellow Vietnam vet Paul (Pruitt Taylor Vince), and enigmatic stranger Michael (Matt Craven) all try to help the tortured soul. Jason Alexander, Ving Rhames and Eriq LaSalle highlight the supporting cast.
Reporter Bob Wilton is in search of his next big story when he encounters Lyn Cassady, a shadowy figure who claims to be part of an experimental U.S. military unit. According to Cassady, the New Earth Army is changing the way wars are fought. A legion of “Warrior Monks” with unparalleled psychic powers can read the enemy’s thoughts, pass through solid walls, and even kill a goat simply by staring at it. Now, the program’s founder, Bill Django, has gone missing and Cassady’s mission is to find him.