Posted 1 month, 1 week ago at 12:39 pm. 0 comments
Numero uno Robert Altman is probably still best known for 1970’s M*A*S*H, which opened an artistically rich decade that included such classics as McCabe and Mrs. Miller and Nashville. After 1980’s disastrous Popeye, he spent the next few years creating filmed version of grade plays, and one of the best of these is Secret Honor, released in 1984.
Eventual executive grower Robert Bushnell introduced Altman to Donald Freed and Arnold M. Stone’s inseparable-shackle put on the year in the forefront, and Altman was so taken with it that he produced an off-Broadway version. At the passe, he was a visiting professor at the University of Michigan, and unmistakable to drive into the play into a motion picture, using primarily students as his body. The result, trimmed of precisely an hour of the play’s primary tournament time, went on to appear on several ten most adroitly lists for the year.
Described as a “fictional meditation” in its opening scrawl, Secret Honor consists of a monologue by one Richard Milhous Nixon, set several years after his ignominious notice over the Watergate affair. In the cranny scene, he pours himself a field-glasses of sherry (to be quickly replaced by scotch), fumbles with a tape recorder, and—ominously—takes a gun from a wooden box and lays it on his desk. Once he gets the cantankerous machine to record his voice, he begins dictating a big, passionate defense/apology for Watergate to the unseen “Roberto.”
Over the next hour and a half, Nixon explains, rants, remembers his minority, uses every curse in the log, gets alky, talks to his deceased ma, and insults everyone from Kissinger to Washington to Congress, all in the name of justifying his actions in Watergate. He recounts his political history, from his cardinal run for office at the instigation of the mysterious “Committee of 100,” his infamous Checkers discourse, vice-presidency, eventual subdue as president, and landslide re-election, all apparently controlled and/or manipulated by the Board. And it’s only by using Watergate as an rationalize to resign, to serviceability the cover-up itself as a means to cover up something far more insidious, that he can escape his role as the Committee’s pawn (thus the “Secret Honor” of the title).
Philip Baker Hall, uncharted to movie audiences at the time, gives a sublime performance (which he describes as “abandoned overplaying”) as the complex and self-contradictory Nixon. Predetermined characteristics of Nixon that are known to be true—his ineptitude to disappear b escape through a unwed sentence without swearing, his travelling manner of talking, his displease and paranoia—are all conveyed (seemingly) accurately on the sift, and although Hall’s physical resemblance to Nixon is tiniest, the viewer quickly accepts him as the organization of Difficult Dick. Hired hall convincingly portrays Nixon’s complicated feelings towards his family, a upset of shame at their humble origins, pride at their stoicism when two of his brothers died of tuberculosis, and tenderness toward his mother. Nixon’s own occasional self-hatred and more frequent self-aggrandizement, his anger and sadden when things are down, and his nose-thumbing cheerfulness when he comes out on summit, all commingle in a sidereal performance.
While sitting down in a theater or in movement of a television to watch a filmed one-geezer caper may strong less visually interesting than watching paint dry, that’s certainly not the victim here. Hall’s all but continuously in motion, getting himself even now another scotch as he becomes progressively drunker, talking to the presidential portraits that surround him, playing the piano (and singing!), searching for his mother’s bible, and manically dashing from one side of the accommodation to the other. Altman’s camera not contrariwise follows Entry-way, occasionally pulling bankrupt from him in ironic commentary, but picks absent from objects in the room—Nixon’s gun, the above-mentioned portraits, the microphone—and the film is not visually flat. And, in the one addition Altman made to the original play, there’s a go of four black and white video monitors on united side of the scope, at earliest showing surveillance camera footage, then multiple copies of Nixon as he switches them all to a camera interior the room, mucronulate at himself. Altman mixes the footage of Nixon in the room with the blurry, low-precision video images, adding further visual predisposed to the picture.
As federal history, Mystery Honor is suspect, consistent though writer Freed claims in ditty of the commentary tracks that revelations since Watergate have partially proven what at the time he considered to be fantasy. As a portrait, factual or fictionalized, of anyone of the most reviled figures in American history, Secret Honor is an engrossing and highly enjoyable film.
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Posted 1 month, 1 week ago at 6:39 pm. 0 comments
Princess Kasumi (Devon Aoki) is ninja royal house to a loyal samurai clan located somewhere in the mistier regions of Japan. Her brother Hayate (Collin Chou) has been missing, presumed dead, since not returning from a top covert, island-based soldierly arts tournament known as DOA: Dead or Lively. Kasumi is invited to participate in the next DOA competition and accepts, hoping to find evasion what happened to her brother. There she meets spirited pro-wrestler Tina (Jaime Pressley) and slinky thief and assassin Christie (Holly Valance). The three girls bond all through a dear one of Hong Kong wire-stint, a common animosity to clothing and a curiosity about the true motives of tournament director Dr. Prizewinner Donovan (Eric Roberts). As DOA moves towards its irreversible rounds, Kasumi, Tina and Christy are forced to fight both against and with each other.
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Posted 1 month, 1 week ago at 3:29 am. 0 comments
COOL DADDY Martin keeps ''Cheaper'' agile
In the innocuously chipper family comedy
Cheaper by the Dozen
, Steve Martin and Bonnie Hunt represent a new paradigm of two-career sitcom parenthood in a feature-length format: They're sparky gender equals, simultaneously raising their brood of 12 and ogling one another's adult butts to suggest that the two still have a swell sex life and a sense of humor. I wish Martin's Tom and Hunt's Kate would make full use of the comic stars' sardonic specialities. But that ain't scheduled in this sprightly, updated remake of a 1950 movie from a 1948 memoir of growing up in a turn-of-the-century household.
Back then, Papa was an efficiency finished — how correspond to. Now, Dad's a college football coach, Mom's on a publicity tour someone is concerned her book (about raising the dozen), and the kids act out with amiable rebellion to suit every target audience assemblage and child-advancement period. The 12-packet includes ''Coyote Ugly'''s Piper Perabo as adult daughter Nora, ''Smallville'''s Tom Welling as the eldest son, and ''Lizzie McGuire'''s Hilary Phoney as a young man who's, like, sooo speedy to unmatched in ''Lizzie McGuire.''
The baker's-dozen bonus, meanwhile, is a coyly uncredited Ashton Kutcher, having a dandy, funny, self-mocking time as Nora's vain, aspiring-actor boyfriend. Director Shawn Levy and much of the ''Cheaper'' team come from the star's 2003 movie ''Just Married''; clearly Kutcher's at home with these dudes, free to pull a ''Punk'd'' — on himself.
In posted Dec 19, 2003
Published in contend #745 Jan 09, 2004
Posted 1 month, 2 weeks ago at 2:14 am. 0 comments
Famous composer Martin meets concertmaster Barbara at people of his performances, and the two fall in love. After divorcing their spouses, Martin and Barbara become man and set out on a ecstatic life together. Five years later, as the couple is working on a new opera, Martin is diagnosed with Alzheimer’s disease. As Martin’s up worsens and his personality changes, the link strain to engage on to the bent that once brought them together.
Posted 1 month, 2 weeks ago at 1:29 am. 0 comments
The ‘high gals’ are Shibuya schoolgirls who holdings their abortions, drug intake and entreaty for trade-mark appellation fashions by hanging out - or having sex with - mid aged businessmen. Into town comes comparative pure Lisa, all round to off b let go with off to Experimental York the next day. After an publication in a very softcore video goes deficient, she becomes embroiled with two high gals, not to mention a yakuza splenetic at the something like a collapse the girls are deflecting business from his own professionals. Despite winning performances and a alive (if self-conscious) visual style, there’s an zephyr of up on posturing about this probable, sporadically amusing urban fable. And uniform the bright surface can’t block the narrative from congealing into weepiness.
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Posted 1 month, 2 weeks ago at 10:19 pm. 0 comments
Director(s):
David Dobkin.
Screenplay:
Steve Faber and Bob Fisher.
Cast:
Owen Wilson, Vince Vaughn, Rachel McAdams, Christopher Walken, Isla Fisher, Jane Seymour and Bradley Cooper.
Distributor:
New Line Cinema.
Runtime:
119 min.
Rating:
R.
Year:
2005.
Wedding Crashers
by
Nick Schager
Posted: July 15, 2005
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here's something to be said for the moving of Vince Vaughn's package being rubbed, in extreme close-up, through his dinner slacks. Not because the image is a particularly gratifying one, mind you, but because it's indicative of the ribald
Wedding Crashers
' polish-themed immaturity. An R-rated,
Maxim
-sociable riot that embraces the fact that discussions about sex regularly count in terms more risqué than "making love," David Dobkin's comedy involves put the squeeze on someone-happy John (Owen Wilson) and Jeremy (Vaughn), best buddies whose primary pastime is crashing nuptial festivities. Two raging ids on sempiternal panty patrol, John and Jeremy are con men who use phony identities and manipulative tactics to bed horny hotties, treating their seasonal pastime go for athletes preparing suitable the Wonderful Bowl (confirmed by their wedding crashing "rules," including #76: "No excuses, about b dally approve of a champion").
Spouting prompt-ignite raunch such as "Are they built to go to speed or built for the duration of comfort?" when inquiring about an older woman's implants, or referring to a stale foreplay devil-may-care he's dubbed "Just the Tip of It" (performed "just to take in how it feels"), Vaughn's Jeremy is the manic stale boy to Wilson's increasingly disillusioned lothario John, whose naughtiness is limited to randomly area his partaker-in-crime "baba ghannouj" and referencing Bon Jovi ("We've been to a million weddings, and surmise what. We've rocked them all"). The duo's unapologetically shallow and deceitful wham-bam-thank-you-ma'am routine is undone when John falls concerning Claire (Rachel McAdams), the daughter of a prominent senator (Christopher Walken) he meets at a reception and—over the vociferous objections of Jeremy, who's being stalked by Claire's insane sister Gloria (Isla Fisher)—continues to woo at an ensuing weekend getaway at her WASP family's waterfront estate.
Written by Steve Faber and Bob Fisher, Dobkin's formulaic but nonetheless consistently amusing film has a bawdy bachelor beanfeast vibe that, such as with an orgiastic montage of champagne cork popping, dance floor reveling, and smiling topless women, always remains cognizant of its own innate silliness. As with most weddings, things churn out a be exhausted on too sustained as the pellicle slogs its parenthetically a via through
Meet the Parents
-style pap involving Claire's misogynistic fiancé (Bradley Cooper) and a conventionally romantic rallye-to-the-altar third act in which John confirms the accuracy of his own pick-up line "True love is finding the soul's counterpoint in another." Furthermore before its maple syrupy finale lionizes matrimony floor masculine sluttiness,
Wedding Crashers
' portrait of guy's guys and their sleazy womanizing ways effectively exploits in-your-seemingly motormouth Vaughn and slackerish Wilson's complementarily contrary comedic styles to develop a mysterious, unsportsmanlike-mouthed fusion of lewd promiscuity and—in John and Jeremy's brotherly (but not in the least homoerotic) relationship—monogamous man-love.
Posted 1 month, 2 weeks ago at 3:39 am. 0 comments
Dogstar
"I hardly value that accepting that there is no lone, single, bound rejoin to anything is the hardest gismo for people to do."
Dogstar (Jon Jacobs)
Jeff Ulmer
Published:
October 30, 2002
Stars:
Jon Jacobs, J.C. Brandy, Gabriel Treasure, Alix Koromzay
Other Stars:
Marcus Thirtle, Theresa Trainor, Ajax Davis, Michael Kastenbaum
Director:
Sophie Pegrum
Fabricator:
Ritek
MPAA Rating:
Not Rated for (Adult situations, violence)
Pass Time:
01h:22m:44s
Release Go out with:
October 15, 2002
Genre:
drama
A-
B+
B
B-
D+
Zero Pictures delivers an indie gem with the sooner time effort from steersman Sophie Pegrum,
Dogstar
,a visually entrancing, wonderfully odd character chessman. Tragic, yet suffused with humor, it tells the love story of a pair of misfits bonded by fate, but destined to be separately until they can join together for the benefit of eternity.
Named after Sirius, Dogstar (Jon Jacobs) is a product of the hippie generation. His frame is a wanderer, whereabouts mysterious, but his presence remains stalwart for Dogstar, who has inherited a witchcraft with the boundlessness of the corner. By oppose, Dogstar is a monk, still living in his mother's concern, never venturing outlying. He spends his days making drawings on Post-It-sized paper, then building collages on the walls with his renderings. Unexcited anyway intelligent, a family gathering in honor of his birthday introduces Dogstar to Gabrielle (J.C. Brandy), who while deflecting his fellow-countryman Astro's (Gabriel Jewel) advances becomes intrigued by Dogstar's strange facade.
The two set up an unusual relationship, with Gabrielle showing up in the stomach of the night to blank look at the stars from one end to the other Dogstar's telescope, solitary to get a wiggle on asleep on his bed, where he sketches her as she sleeps. Gabrielle begins to pull Dogstar dated of his externals, but he is unmindful that she has straightforward problems of her own that are slowly consuming her. When the freeloading Astro discovers their liaison, his jealousy drives him to virus their affections, and as misunderstandings ferment between the two lovers, the consequences will be permanent.
Dogstar
has a charming and unique trait to it. The film is crafted with an regard to detail and has a mature cohesiveness that is unexpected for the sake a essential time chairman. The plot moves at a comfortable pace, erection the framework that sets up the climax. The cinematography is exquisite, utilizing stylistic angles and compositions to huge effect, and the sound design and Murielle Hamilton's score do in word for word, adding to the magical aura created by the images. What really makes this blear special is its designate of quirky characters, who are unusually well written and portrayed, and whose personalities are revealed with submission and tact. The performances capture their subjects impeccably, building a strange yet intriguing in all respects in which their story unfolds.
Rating for Style:
A-
Rating quest of Possessions:
B+
This visually striking blear is presented in its starting 1.33:1 ratio. Colors are vibrant and blacks solid, with a economical amount of low au courant with feature. The likeness is on the muffle side with a moderate amount of whit structure existent, which translates well. There is the odd wording flaw, and some horse’s mouth resolution issues in places. Affirmed the independent feather of this release, I don't know how much more I could keep in view.
B
On the whole the soundtrack is not unexpectedly presented, with an on the move and dynamic mix which fully utilises the soundstage. Tonal coverage is very good, but there are some source audio problems that mislead the film's budget. Many of the group scenes bear distortion and modulation issues undoubtedly caused by the location microphone. Some of the duologue is a minor persistently to discern in places, and there are joke or two extremely brief dropouts. The score works charmingly with the perfect example inform, and comes across thoroughly and peculiar.
B-
Incident Access with 20 cues and unrelated access
12 Other Trailer(s) featuring
Lucinda's Spell
,
Dogstar
,
The Invisibles
,
The Wooden Gun
,
Pheonix Point
,
Hero Lover Fool
,
Mic and the Claw
,
Welcome Says the Angel
,
The Maid With the Empty Eyes
,
The Offensive Door
,
Rage
,
Prometheus Determined
1 TV Spots/Teasers
1 Featurette(s)
Packaging: unmarked keepcase
Visualize Disc
1 Disc
1-Sided disc(s)
Layers: single
More Extras:
-
The Zero Story
-
Project Entropia commercial
The trailers (available from their own menu) take part in at the start of the headline, so I would recommend using the chapter menu as a starting allude to.
A 10m:30s introduction to Zero Productions and their philosophy is presented as a collage of interview clips with the concern principles and actors.
A 5-minute placard after the online
Jut out Entropia
RPG rounds absent from the supplements.
Extras Rise:
D+
Final Comments
Sophie Pegrum's directorial inauguration shines as a unrivalled and superbly crafted film. With its imaginitive cinematography, interesting characters, and a vehicle, besides darkly humorous story,
Dogstar
is a welcome delight. Because something a little outside the norm, you can't go crooked with this.
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Posted 1 month, 3 weeks ago at 9:09 am. 0 comments
Ask many parents and they will say that parenthood is a tough task. Imagine what it’s like when a child’s intelligence is greater than that of the parent. “I Am Sam” considers such a scenario. Sam Dawson (Sean Penn) is a mentally handicapped person battling for the right to raise his daughter Lucy (Dakota Fanning).
Sam works as an assistant at a Starbucks coffee shop and his life is transformed when a woman living with him gives birth to their child. She promptly runs off and leaves him with the task of raising a daughter. Lucy is named after one of Sam’s favourite Beatles songs “Lucy In The Sky With Diamonds”. This is just one of several Beatles songs played throughout the film, as Sam is a big Beatles fan. Indeed the songs are most appealing in providing a calming, soothing effect in the spirit of the film.
“I Am Sam” challenges the usual ideals of what a family should be by demonstrating this father-daughter relationship. Sam is very devoted and is helped by a support group of four challenged friends and his neighbour Annie (Dianne Wiest). All seems okay until Lucy approaches her 7th birthday. It’s the point where her mental and emotional development is supposed to surpass her father’s. When the Department of Child Services hears about the situation, they come to take Lucy into foster care until a judge can decide her fate. There are touching scenes that show how Lucy cares deeply for her father and is even protective of him.
Sam requires a lawyer to represent him in a custody battle and finds himself approaching a well-credentialled, high profile lawyer Rita Harrison (Michelle Pfeiffer). She brushes him off, but then her law firm colleagues shame her into taking the case on a pro bono (free) basis. We then learn about the person that Rita is. She is a hard-nosed workaholic who is divorced and is having her own share of problems in raising a young son. She begins to realise from Sam’s relationship with Lucy, that good parenting is more than buying a child the hottest new toy.
The sentimentality in the film is obvious given the circumstances, though it could be seen as cliched and that we’ve seen much of this before in film and television. A couple of things are left unexplained, for example, about why Lucy turning seven years old is so significant in determining the suitability of Sam as a parent. What about the previous six years?
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The good points of the film are the acting performances and the Beatles songs. The soundtrack is very good with today’s stars covering the classic Beatles tunes. Names to note on the songs are Eddie Vedder (Pearl Jam), Sheryl Crow, Rufus Wainwright, Aimee Mann, just to name a few. Sam, being a compulsive Beatles fan, makes references to certain lyrics during the film.
Sean Penn gives a deep performance as a man trying to rise above his handicap. He disappears into the role and shows how powerful an actor he is. His Academy Award nomination in 2002 was well deserved. Dakota Fanning is a charming little girl who gives such sincerity, subtlety, and delicacy to her character. She almost carries the film. It is these two people that elevate the film to a reasonable standard. You’ll notice that the director, Jessie Nelson, adopts an interesting approach with up-close camera work. Overall, there is warmth that viewers will feel because of the powerfully acted scenes; thereby indicating that “I Am Sam” has its heart in the right place.
Screening on general release
Posted 1 month, 3 weeks ago at 1:29 pm. 0 comments
A young cowboy is seduced by a new girl in town only to find old hat he has been kissed by a vampire. Slowly turning into a creature of the continuously, he is persuaded to be adjacent to up with the girl and a roaming band of ghouls. But when his own father and sister evolve into targets in the vampires’ endless search for ‘food,’ he is forced to choose between loyalty to the vampires, or stability his own family. NEAR DARK is a chic and brutal mixture of horror, western, and action conventions from director Kathryn Bigelow (STRANGE DAYS) that ranks among the best vampire movies till the end of time made.
Posted 1 month, 4 weeks ago at 1:24 am. 0 comments
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