Superman flies back onto the CW on Friday, September 24 with Smallville at 8 p.m. EST. For those who can't wait any longer for their favorite hero in tights, the CW posted some stills from the first episode of the final season. It's titled "Lazarus" and you can find them right here.
In the photos, Clark Kent (played by Tom Welling) receives some type of letter in the mail. Then, he talks to his father (John Schneider) about it. They look very serious, then hug. From the stills, Pops appears to be giving an inspirational speech to his son. Clark then looks really serious again as he leans against the fence, and we imagine, probably pondering the future of mankind.
It all appears to be very dramatic and we can't wait till September 24.
Merging reality and fantasy in a movie within a movie co-writer/director/star Ben Stiller lampoons the movie industry in ways it hasn’t been skewered since The Player and S.O.B. In Tropic Thunder a film crew sets out to make the biggest (and most clichéd) war movie ever. But after huge budget overruns and a tantrum from the studio head (an unrecognizable Tom Cruise) the hapless English director (Steve Coogan) decides what the film needs is a lot more realism. So he plunks his all-male cast deep down into the jungles of Southeast Asia for some on-the-spot boot camp training. What starts out as an exercise turns disastrous when they encounter REAL enemy warriors trying to do them in. The motley crew of actors include: Tugg Speedman (Stiller) a fading action hero desperate for a hit; Australian five-time Oscar winner Kirk Lazarus (Robert Downey Jr. ) who is such a method actor he undergoes a unique skin pigmentation transformation to play his character as an African-American; and Jeff Portnoy (Jack Black) star of a successful farting comedy franchise called The Fatties. Also along for the shoot is intensely serious author John “Four Leaf” Tayback (Nick Nolte) whose book the movie is based on and who may have twisted the real facts for the sake of a movie sale. The bulk of the film finds them fighting for their lives without a script in sight. Stiller shoots and scores big time getting superb and hysterically funny performances from a great cast. Ben is back doing what he loves spoofing convention which in this case includes every jungle war movie from Platoon and Apocalypse Now to Rambo. Playing an actor whose series of action-hero flicks have had dwindling returns and whose last flop had him portraying a mentally impaired farm boy Stiller gets big laughs as his character tries to make a comeback. Robert Downey Jr doesn’t just deserve an award for his riotous and audacious acting he should get a medal for bravery. The star continues his great year with a hilarious turn as the ultimate method actor. He’s hilarious as he refuses to speak in anything but his ghetto accent even when the cameras aren’t rolling--exclaiming at one point “Man I don’t drop character until I’ve done the DVD commentary!” Black manages to go even further over the top than usual but his manic act is perfect for the loud and relentless tone set by Stiller. Nolte is perfect casting as a grizzled war vet and Coogan is very funny as the beleaguered director who takes things one step too far for his safety. Meanwhile newcomers Jay Baruchel Danny McBride (having a great year with this Pineapple Express and Foot Fist Way) and Brandon T. Jackson round out the gang who couldn’t shoot straight. The large cast also includes extended cameos from Matthew McConaughey as Speedman’s groveling agent Bill Hader as a film executive and a startling and terrifically funny performance by a balding hairy-chested Tom Cruise as the screaming foul mouthed studio head. Special mention also to 12 year-old Brandon Soo Hoo who is on target as the take-no-crap “leader” of the enemy camp. Ben Stiller hasn’t been behind the camera since his hilarious Zoolander but he hasn’t missed a beat in that department. He manages to make a balls-out action war film with more explosions than any movie in recent memory--obviously paying homage to such classics as Platoon--but doing it all in the service of a smart comic takeoff on the movie business he clearly knows well. Stiller’s comic canvas making fun of the whole “boot camp” mentality is impressively mounted with flawless CGI special effects evoking the kind of kick-ass war flick we need to believe this troupe is making. Multiple Oscar winner John Toll’s fine cinematography should also get well-deserved credit. With so much extreme mayhem going on keeping the comedy cooking at top levels is a daunting task Stiller pulls off with aplomb.
After losing an arm and a leg to a deranged serial killer--as if there were any other kind--all-American teenager Aubrey Fleming (Lindsay Lohan) is discovered in a ditch outside of town. Trouble is she’s not Aubrey--at least that’s what she says. She claims to be Dakota Moss a hard-edged stripper whose vocabulary proves how hard she is. Through flashbacks we see she's no goody-goody but she’s determined to get to the bottom of the mystery while everyone around her waits for her to “remember” who she really is. But if indeed the killer is still at large then this baffled babe might still be on the hit list which is where the story’s ostensible suspense is supposed to emanate from. Is all of this a figment of Aubrey’s--or Dakota’s--imagination or a by-product of the trauma she’s suffered? If it were there wouldn’t be a movie. As it is there’s not much of one anyway. As if she didn’t have enough to deal with already Lohan seems particularly ill at ease here. She has yet to really distinguish herself as a strong actress and she’s certainly not strong enough to do much with the material she’s given here. Her character simply isn’t likable--and she’s the whole show. There’s a slightly uncomfortable if blackly comic irony in watching Lohan at various points take pills drink alcohol pole-dance and swear up a storm. Oh yes and she’s also bloodied bruised terrorized and tortured--for those who care. Most won’t. If this is what passes for character development in horror movies these days then we--and the genre--are in trouble. As Aubrey’s parents Julia Ormond and Neal McDonough stand around mostly looking confused as well they should be. At least Brian Geraghty as Aubrey’s jock boyfriend doesn’t embarrass himself. But no one else is around long enough to make much of an impression. Then again as a whole I Know Who Killed Me doesn’t leave much of an impression. Just a bad aftertaste. Aside from technical proficiency there’s not a lot director Chris Sivertson brings to the party and it’s as much the fault of first-time screenwriter Jeffrey Hammond. Sure the story has a lot of twists and turns but they’re stupid twists and turns--and too many of them are introduced too far into the narrative as an increasingly desperate way of keeping the film going long after anyone cares. In the end--actually by the middle--I Know Who Killed Me simply doesn’t add up. It’s too silly to be remotely credible or interesting and too murky to be laughable.
Seagal plays hard-edged Detroit detective Orin Boyd whose unorthodox methods to catch the bad guys generally leave him in hot water. After single-handedly saving the U.S. vice president from a terrorist attack and unfortunately blowing up too many things in the process Boyd is relegated to the dregs of all Detroit divisions - the 15th Precinct. There with the help of his no-nonsense commander (Jill Hennessy) and his naïve partner a by-the-book cop (Isaiah Washington) he discovers how truly corrupt the precinct is when several kilos of heroin and cash turn up missing. Boyd finds an unlikely ally in drug-dealing crime lord Latrell Walker (DMX) who is falsely accused and becomes the main target. The two men must team up together to expose the deep-seated conspiracy within the police department. Of course they do.
If you are a fan it's great to have uber-cool Seagal back on-screen. He took a break from his action fare over the last few years but has returned looking as buff as ever. However this time around he magnanimously shares the screen with a few young actors who take on as much - or perhaps even more - action than the big man himself. Hip-hop star DMX struts and preens with the best of them and Seagal seems almost amused having the young actor take over some of the dirty work. Good-guy cop Washington (Romeo Must Die) lends a helping hand while big guy Anthony Anderson (also in Romeo Must Die) does a nice job playing DMX's henchman. Hennessy is fairly wasted but it's refreshing to see a woman playing a tough police commander.
This isn't a warm and fuzzy film. This isn't a groundbreaking drama. This is a Steven Seagal action movie where the characters will not discover hidden secrets about themselves and become better people. If you are aware of this fact then the film doesn't disappoint. Seagal films have occasionally risen above the standard beat-'em-up blow-'em-up fare. The best example may have been the intriguing Under Siege like Die Hard on a U.S. Navy battleship where his I'm-king-of-the-world attitude wasn't as prevalent. In Exit Wounds Seagal is finally older and maybe a little wiser realizing his own limitations. The film even makes fun of itself (Seagal actually takes an anger-management class). Yet ultimately we know what this film is all about -- the fight sequences the guns the explosions - leaving room for little else.