The Philadelphia Experiment, The Host, The Taste of Money 


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The Philadelphia Experiment (PG-13)

Anchor Bay Home Entertainment

Sometimes filmmakers take a movie that was not good to begin with, distill through a modern eye all that was wrong and remake a film that's so fresh, the terribleness of the original is forgotten. But, sadly, most of the time, they manage the exact opposite. Take, for example, the recent Syfy channel remake of 1984's tepid cult item The Philadelphia Experiment. For all its issues, at least it had imagination; the remake, not so much. Following along the same lines of the 1943 real secret government experiment in cloaking that caused a warship to disappear, here the action is transplanted to a small town and a parking lot that's a showcase in corner-cutting. Malcolm McDowell shows up and is immediately killed. Nothing interesting happens, as the film forgoes story for cheap special effects, leaving a forgettable movie and making the original a masterstroke of genius in comparison. — Louis Fowler

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The Host (PG-13)


Based on the YA novel by Twilight author Stephenie Meyer, The Host is a silly piece of sci-fi with a decent idea at its center: What if, even as alien parasites take over our bodies, our consciousness coexists in them? That's what happens to Melanie (Saoirse Ronan), a scrappy Louisiana gal who'd rather commit suicide than be inhabited by an alien. Alas, she's implanted with the Wanderer, an otherworldly "Soul," but soon enough, Melanie wakes up and starts influencing the Wanderer. It's the setup for a decent futuristic thriller that never arrives. The Irish-raised Ronan adopts a cringe-worthy Southern twang, while writer-director Andrew Niccol (In Time) stages the production as if inhabited by a hack. The Host isn't nearly as good as anything Niccol and Ronan could've conjured themselves over a long weekend if they'd been able to give Meyer the slip. — Justin Strout

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The Taste of Money (NR)

IFC Films

From Im Sang-soo, the controversial South Korean director of the erotic thriller The Housemaid, comes this dark and depraved shocker. But this isn't an Eyes Wide Shut-serious look into the lifestyles of the rich and perverted, because Im interjects copious black humor into the proceedings. In fact, there's so much anti-1-percent jabbing that it completely, and possibly for the best, takes the piss out of this above-the-law culture. We're introduced to the devilish dealings of the hyper-rich through the eyes of Young-jak, a handsome assistant who, in addition to doing the patriarch's dirty work, both fiscally and physically is put in the middle of a constant power struggle between the different family members. There are plenty of double-dealings, vengeful comeuppances and exorbitant deceptions that make Money the most unsettling soap opera to hit these shores in a long time. — Louis Fowler


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