More than 10 000 people are smuggled into the United States for sexual exploitation per the nonprofit organization Free the Slaves. Inspired by a New York Times Magazine article Trade focuses on the attempts of traffickers to smuggle a group of women and children across the U.S.-Mexican border. Director Marco Kreuzpaintner wastes no time introducing us to the two victims he intends to follow from their kidnapping in Mexico to their auctioning off in the United States. Adriana (Paulina Gaitan) is snatched from the street as she rides the bicycle she just received from her brother Jorge (Cesar Ramos) for her 13th birthday. Single mother Veronica (Alicja Bachleda) arrives in Mexico City from Poland believing she’s there to meet with the people she’s paid to arrange her with safe and legal passage to the United States. Only she’s been duped by the traffickers. Adriana Veronica and a handful of other abductees then begin their terrifying journey to the United States under the watchful eye of trafficker Manuelo (Marco Perez). On their trail is Jorge who feels responsible for Adriana’s kidnapping. He risks life and limb to follow the abductees across the border. Once on U.S. soil Jorge crosses paths with Ray (Kevin Kline) a Texas cop who’s trying to break up the trafficking ring for personal reasons. Ray reluctantly pairs up with Jorge to track down Adriana before she and Veronica are sold off to the highest bidder via the Internet. More gentleman than action hero Kevin Kline’s not the obvious choice to portray a police officer hailing from the Lone Star State. Ray’s the kind of law-enforcement bloodhound Tommy Lee Jones can play in his sleep. Heck Kline only halfheartedly attempts a Texas drawl and even then he drops it minutes after his late entrance. This could be overlooked if Kline lent Ray some intensity. For someone on a crusade Kline strolls through Trade without a care in the world. As Trade reaches its inevitable showdown between the traffickers and their pursuers Ray’s faced with a life-or-death choice that would compromise all he stands for. Kline though looks about as conflicted as someone trying to decide what he wants for lunch. Luckily Kline’s presence doesn’t negate the fine work done by Ramos Gaitan and Bachleda. Ramos perfectly captures the guilt of a troubled young man—one embarking on a life of crime—whose ill-gotten gains has cost him dearly. If Ramos offers a study in redemption Bachleda goes to great pains to show the ease with which someone with so much grit and determination can bend and break under the most extreme of circumstances. Gaitan doesn’t endure as much abuse but she’s still one tough cookie. Perez refuses to allow Manuelo to be a mere profit-minded monster—he provides Manuelo with a conscience or what passes for one in his business. Trade is a tale of two countries. While in Mexico director Marco Kreuzpaintner examines the sex-slave trade in an incisive and uncompromising manner. He sheds light on how these trafficking rings acquire their slaves and smuggle them across the border. He puts us on edge the moment Adriana and Veronica fall in their captors’ hands. We’re never sure as to what will happen to them. We know they need to be kept alive. But in what condition? Many of the abductees are drugged beaten and raped. The violence isn’t exploitative—Kreuzpaintner just needs to show the cruelty inflicted upon these victims of the modern-day slave trade. And it only makes us fear more for Adrian and Veronica’s safety. Once Trade reaches the United States Kreuzpaintner and screenwriter Jose Rivera start pulling their punches. Yes there are some moments that make you sick to your stomach. But the moment Kline arrives on the scene Trade gets weak at the knees. There are too many coincidences for Trade’s own good. The sudden death of one character is forced and absurd. And Kreuzpaintner doesn’t know how to extricate Kline from the untenable situation he’s placed in during Trade’s climax. This all leads up to a pat ending one that even the Lifetime TV crowd would find unbelievably spineless.
Hugh Grant and George Clooney are set to star in a big screen version of the cult 1970s television series The Persuaders as Lord Brett Sinclair and Danny Wilde, respectively.
The Hollywood hunks will join forces with actor Ben Stiller, who has gone behind the cameras to co-produce the movie.
Fellow co-producer Nick Hamson says, "We're very excited about the project finally coming together.
"It's been an idea we've been keen to pursue and we're so pleased that it is now in development. People of our generation grew up watching The Persuaders religiously."
COPYRIGHT 2007 WORLD ENTERTAINMENT NEWS NETWORK LTD. All Global Rights Reserved.
Premonition’s premise is so implausible it’s really hard to get emotionally involved in the film—although this is something it desperately wants you to do. Instead you spend most of your time just trying to figure out why this woman Linda Hanson (Bullock) is running around like a crazy person waking up one day to find her husband Jim (Julian McMahon) is dead and then the next that he’s still alive. It’s exhausting frankly. On Thursday she’s told Jim has died in a horrible car accident the day before. Then she wakes up and it’s Tuesday finding Jim is still alive and well—and possibly having an affair with a co-worker. Then she wakes up on Saturday and it’s the day of the funeral. WTF? Of course in volleying back and forth through this week from hell Linda is forced to look at her tired marriage and somehow preserve everything that she and Jim have built together before it’s too late. Oh it’s too late all right. Too late to care what happens. Bullock is a fine actress when she tries her hand at something more serious such as Infamous or Crash—heck we’ll even throw in 28 Days. Of course we prefer her to be the cute and fun Miss Congeniality of the big screen but we understand her need to stretch a bit. However this thriller stuff really isn’t her forte (remember Murder By Numbers?) especially when she looks about as confused as we are on why she’s even in this movie. And what’s with her compulsion to star in movies about time jumping? Her last movie Lake House although considered a middling hit has the same elements albeit in a far more romantic milieu. Whatever the reason Premonition fails to tap into any of Bullock’s more innate qualities leaving her floundering like a boat lost at sea. And everyone else in the movie acts as mere window dressing including Nip/Tuck’s McMahon as the faltering and ultimately doomed hubby. Just a big waste of talent. Oh man I really would have liked to sit in on this pitch meeting with the studio execs. Screenwriter Bill Kelly whose claim to fame up to this point has been the stellar Blast From the Past must have walked in and said “Do I have a mind bender for you! ” and proceeded to try to explain the mess that is Premonition. And oddly enough those execs bought it. Still it seems the studio may not have had a lot of faith in the movie despite reigning in Ms. Bullock—they hired a no-name German director Mennan Yapo to take the helm. All this inexperience clearly shows in almost every frame of the movie. Muddled camera work shoddy dialogue lingering and unnecessary moments of Linda lying in bed in various positions nothing about Premonition makes sense. Not even the title since Linda really isn’t experiencing a premonition but more a trip through the space-time continuum. Now if this were an episode of Star Trek...
Dreamer is another one of those family films--based on a true story no less--that makes you feel guilty for not liking it because it means so well. The film revolves around the Cranes who have worked on their Kentucky horse farm for generations. But gifted horseman Ben Crane (Kurt Russell) loses his love for the job when the farm hits hard times. His estranged father Pop (Kris Kristofferson) feels like his son has given up unnecessarily. Even Ben’s young daughter Cale (Dakota Fanning) can’t get through to her dad. The only way this family can heal is by helping an injured horse named Sonya get ready for a seemingly impossible goal: to win the Breeders' Cup Classic. Say it together: “Awww!” At least the film gets it half right in its casting. Russell is perfect as the beleaguered Ben a man who needs a little inspiration to get back on track and he thankfully never takes it over the top. Same goes for Kristofferson who is aptly crusty and unwilling to give his son an inch--that is until his granddaughter and that darned horse melt his heart. And the family resemblance is uncanny; apparently the two actors have been told quite often how much they look like each other. The one misstep here is Fanning. Yes she is an extraordinarily gifted actress for her age but Cale should have been played by a happy sunny child. The oh-so-serious Fanning doesn’t really qualify. Also Elisabeth Shue as the mom is all wrong. A horse farmer’s wife? Please. Writer-director John Gatins takes a big gamble making his directorial debut with a movie about an underdog horse. First there’s the underdog part. This year seems a bit saturated with the plot device what with films like Cinderella Man and most recently Greatest Game Ever Played. Second there’s the whole horse thing. It’s just going to be hard to top the Oscar-nominated Seabiscuit--the quintessential true horse-racing movie to beat them all. True Dreamer is based on a true story and is nicely--albeit conventionally--framed. But the film isn’t unique in any way. It’s the same feel-good family stuff we’ve been swallowing all year. See? I told you I’d feel guilty for knocking it.