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From writer/producer Luc Besson (The Fifth Element, Leon: The Professional) comes Colombiana. Zoe Saldana plays a young woman who has grown up to be an assassin after witnessing the murder of her parents as a child. Turning herself into a professional killer, she remains focused on her ultimate goal: to hunt down and get revenge on the mobster responsible for her parents’ deaths.As a producer, Luc Besson (The Transporter series, Taken, District B-13) has made extremely profitable B-movie hay out of a fairly strict formula incorporating whisper-thin femme fatales, parkour, Gaultier, and guns. Colombiana, another Besson collaboration with director Olivier Megaton (Transporter 3), doesn't exactly blaze new trails, but the combination of Zoe Saldana's fierce ! performance and a dash of oddball surrealism sure makes the running time zoom by. Purportedly beginning as a sequel to The Professional, the story follows a beautiful South American assassin bent on rubbing out the murderers of her parents. Unfortunately, the closer she gets to her drug lord prey, the more her own loved ones (including Michael Vartan and an amusingly hambone Cliff Curtis) are put at risk. Things go boom, frequently. Director Megaton handles the action with the rapid-cut, blue-filtered zing common to the Besson factory, but things receive a definite boost via the efforts of Saldana, whose performance combines the intensely physical with an appealing soulfulness. Whether slithering through air ducts in a skin-tight cat suit or using a toothbrush as an impromptu weapon, she somehow manages to maintain an air of beyond-the-call gravitas. Also of note are the scenes of the heroine plying her lethal trade, some of which bear the funky logic-defying influen! ce of Mario Bava's great fugue-state caper movie Danger: Di! abolik. Ultimately, although the story elements and secondary character motivations rarely hang together, Colombiana's distinguishing marks help place the film somewhere above the level of guilty pleasure. When pitted against the likes of a mobster with a glass-paneled shark tank for a dance floor, reality can take a seat, frankly. --Andrew WrightFrom writer/producer Luc Besson (The Fifth Element, Leon: The Professional ) comes Colombiana. Zoe Saldana plays a young woman who has grown up to be an assassin after witnessing the murder of her parents as a child. Turning herself into a professional killer, she remains focused on her ultimate goal: to hunt down and get revenge on the mobster responsible for her parents’ deaths.As a producer, Luc Besson (The Transporter series, Taken, District B-13) has made extremely profitable B-movie hay out of a fairly strict formula incorporating whisper-thin femme fatales, parkour, Gaulti! er, and guns. Colombiana, another Besson collaboration with director Olivier Megaton (Transporter 3), doesn't exactly blaze new trails, but the combination of Zoe Saldana's fierce performance and a dash of oddball surrealism sure makes the running time zoom by. Purportedly beginning as a sequel to The Professional, the story follows a beautiful South American assassin bent on rubbing out the murderers of her parents. Unfortunately, the closer she gets to her drug lord prey, the more her own loved ones (including Michael Vartan and an amusingly hambone Cliff Curtis) are put at risk. Things go boom, frequently. Director Megaton handles the action with the rapid-cut, blue-filtered zing common to the Besson factory, but things receive a definite boost via the efforts of Saldana, whose performance combines the intensely physical with an appealing soulfulness. Whether slithering through air ducts in a skin-tight cat suit or using a toothbrush as an impromptu ! weapon, she somehow manages to maintain an air of beyond-the-c! all grav itas. Also of note are the scenes of the heroine plying her lethal trade, some of which bear the funky logic-defying influence of Mario Bava's great fugue-state caper movie Danger: Diabolik. Ultimately, although the story elements and secondary character motivations rarely hang together, Colombiana's distinguishing marks help place the film somewhere above the level of guilty pleasure. When pitted against the likes of a mobster with a glass-paneled shark tank for a dance floor, reality can take a seat, frankly. --Andrew WrightJason Statham (The Italian Job), Academy Awardr nominee Clive Owen (Inside Man) and Academy Awardr winner Robert De Niro (Raging Bull) star in Killer Elite, "one of the best action thrillers of the year!" (Richard Roeper) When two of the world's most elite operatives -- Danny, a retired contract killer (Statham), and Hunter, his longtime mentor (De Niro) -- go up against the cunning leader of a secret military society (Owen), their ! hunt takes them around the globe from Australia to Paris, London, and the Middle East. As the stakes rise along with the body count, Danny and Hunter are soon plunged into an action-packed game of cat-and-mouse where no one is what they seem. Based on a shocking true story, it's an explosive, no-mercy thrill ride where the predator ultimately becomes the prey.They're not exactly The Expendables, but the idea of gathering Jason Statham, Clive Owen, and Robert De Niro for special ops duty in Killer Elite gives rise to some basic expectations: and sure enough, there's Statham as the cool, compact trained killer, and De Niro as the grizzled seen-it-all-veteran of some very off-the-record assassinations, and Owen as the smooth-talking (and curiously mustachioed) insider with a mess to clean up. These three fellows might indeed make for a badass team in some international thriller, but this particular international thriller is so ham-handed and breathlessly "stylish" that the act! ors are stranded amidst the relentless noise. De Niro's charac! ter gets kidnapped early in the proceedings (and spends most of the movie off-screen), so Statham must come back on the job and rescue his old killer-in-arms. But there's a bigger plot a-turning, based on Ranulph Fiennes's novel, which was allegedly a real tale of espionage, although this claim has been disputed. (This film is not related to Sam Peckinpah's 1975 film The Killer Elite). Director Gary McKendry serves up some bone-crunching moments, which almost drown out the sound of the tin-ear dialogue, and Owen manages to emerge with dignity intact. That will have to suffice as a recommendation for hard-core action fans. --Robert HortonA young couple (James Marsden and Kate Bosworth) moves to a quaint southern town. Soon their perfect getaway turns out to become a living hell when dark secrets and lethal passions spiral out of control. Trapped by a pack of depraved locals led by a ruthless predator (Alexander Skarsgard, TV’s True Blood), they face a night of agonizing suff! ering and endless bloodshed. Now their only hope for survival is to become more savage than their merciless torturers. Also starring two-time Academy Award® Nominee James Woods (Best Actor, Salvador, 1986 and Best Supporting Actor, Ghosts of Mississippi, 1996). Forty years after Sam Peckinpah's hugely controversial 1971 original, Rod Lurie adapted and directed a new version of Straw Dogs, with a very deliberate change of location and an updating of the social context. Instead of being set in Britain, the story now takes place in small-town Mississippi, where Hollywood screenwriter David Sumner (James Marsden) is moving with his wife Amy (Kate Bosworth). She grew up in Blackwater, which she aptly refers to as "backwater," but has since become a much-desired TV actress. In their isolated house, David will write while Amy's ex-beau (Alexander Skarsgård) repairs the adjacent barn with his redneck buddies. In drawing the unease between this effete, conflic! t-averse intellectual and the swaggering, flag-waving, God-fea! ring loc als, Lurie (The Contender) seems to be aiming at the hostility between red state/blue state America in 2011. But the movie breaks down when it gets to the sadistic plot turns that lead to the savage finale, a siege in which David is pushed to his primal self. In the Peckinpah film, this was a hellish and ambiguous exorcism, but here the events just seem ugly, and the movie loses control of its perspective about halfway through. James Marsden is a game actor, but he can't be as convincing a bookworm as Dustin Hoffman was in the original film. Kate Bosworth's ambivalence is the most interesting thing at play here, as she suggests the marriage might have been less than perfect all along. That subtle discontent is more intriguing than the movie's lurid collapse into ultraviolence. --Robert HortonJason Statham (The Italian Job), Academy Awardr nominee Clive Owen (Inside Man) and Academy Awardr winner Robert De Niro (Raging Bull) star in Killer Elite, "one of the bes! t action thrillers of the year!" (Richard Roeper) When two of the world's most elite operatives -- Danny, a retired contract killer (Statham), and Hunter, his longtime mentor (De Niro) -- go up against the cunning leader of a secret military society (Owen), their hunt takes them around the globe from Australia to Paris, London, and the Middle East. As the stakes rise along with the body count, Danny and Hunter are soon plunged into an action-packed game of cat-and-mouse where no one is what they seem. Based on a shocking true story, it's an explosive, no-mercy thrill ride where the predator ultimately becomes the prey.They're not exactly The Expendables, but the idea of gathering Jason Statham, Clive Owen, and Robert De Niro for special ops duty in Killer Elite gives rise to some basic expectations: and sure enough, there's Statham as the cool, compact trained killer, and De Niro as the grizzled seen-it-all-veteran of some very off-the-record assassinations, and Owen as the! smooth-talking (and curiously mustachioed) insider with a mes! s to cle an up. These three fellows might indeed make for a badass team in some international thriller, but this particular international thriller is so ham-handed and breathlessly "stylish" that the actors are stranded amidst the relentless noise. De Niro's character gets kidnapped early in the proceedings (and spends most of the movie off-screen), so Statham must come back on the job and rescue his old killer-in-arms. But there's a bigger plot a-turning, based on Ranulph Fiennes's novel, which was allegedly a real tale of espionage, although this claim has been disputed. (This film is not related to Sam Peckinpah's 1975 film The Killer Elite). Director Gary McKendry serves up some bone-crunching moments, which almost drown out the sound of the tin-ear dialogue, and Owen manages to emerge with dignity intact. That will have to suffice as a recommendation for hard-core action fans. --Robert HortonAn ex-Marine haunted by a tragic past, Tommy Riordan returns to his hometown of Pittsbur! gh and enlists his father, a recovering alcoholic and his former coach, to train him for an MMA tournament awarding the biggest purse in the history of the sport. As Tommy blazes a violent path toward the title prize, his brother Brendan, a former MMA fighter unable to make ends meet as a public school teacher, returns to the amateur ring to provide for his family. Even though years have passed, recriminations and past betrayals keep Brendan bitterly estranged from both Tommy and his father. But when Brendan's unlikely rise as an underdog sets him on a collision course with Tommy, the two brothers must finally confront the forces that tore them apart, all the while waging the most intense winner-take-all battle of their lives.Some men make their peace by hugging it out, but the men in Warrior communicate through their fists. Paddy Condon (Nick Nolte) trained his sons to be ultimate fighting champions, but alcohol, divorce, and a span of 14 years has driven them apart! . Now Brendan (Animal Kingdom's Joel Edgerton) works as! a scien ce teacher, while Tommy (Tom Hardy, looking even burlier than he did in Bronson) has returned to Pittsburgh in the wake of his mother's death. He contacts his estranged father only because he wants to fight again. Paddy knows better than to ask what he's been doing in the meantime, but details of Tommy's time in the marines come to light just as his brother also plans a return to the ring, a move his wary wife (House's Jennifer Morrison) supports only because they'll lose their home otherwise. It's a foregone conclusion that the brothers will face each other in Atlantic City for the mixed martial arts competition with the $5 million prize, though Miracle director Gavin O'Connor makes the meeting surprisingly believable by capturing the bouts that lead up to the main event. Throughout, Tommy fights like Tyson, knocking out opponents in a single blow, while Brendan wears them down through dogged persistence. The actors give it their all, but O'Connor stret! ches his underwritten script too far, leaving Tommy overly enigmatic, so it's fortunate that Brendan emerges as a more fully rounded figure, proving that Edgerton's move from the stage to the screen was a wise course of action. --Kathleen C. Fennessy