(11555,2078,3,1,0,'69.120.114.47',1132504560,1,0,1,1,1,1,'hengcs','Re: Mysterious Skin','I am reposting (with some edit) whatever I have written from filmwurld into here ...\r\n\r\nMy only comments are:\r\nWOW ... Joseph Gordon-Levitt\'s performance was superb!\r\n\r\nUnfortunately it is not a mainstream movie ... \r\nHence, I think his chances of being nominated for any mainstream acting awards are reduced ... \r\n;(\r\n\r\nI, however, do not quite like the \"alien take\" of the movie ... As I have watched the movie quite some time ago, this is what I can vaguely recall ... *guilty grin* ... maybe I should watch it again?! hiaks hiaks ...\r\n\r\nThe main reason that I do not like the \"alien take\" is because:\r\n-- The entire movie comes across as a bold, thought provoking critique of society, plagued with plight, humanity and realism ... In essence, I deem it as daring, disturbing and dark!!!\r\n-- However, the \"alien take\" (at least the way the movie is filmed) has overshadowed the initial intention (if any at all) to add that slice of \"sci fi\", supernaturalism and hence, unrealism to the movie. Worst of all, it actually peppers the movie with \"comical\" moments which I do not really appreciate. In my humble opinion, it actually veers the audience off track in terms of mood and feel ... \r\n\r\nI feel that the director could have filmed the sci-fi aspect in a more \"down-to-earth\" or \"realistic\" fashion (oxymoron?!) as opposed to now, which comes across as \"incredulous\" or even \"absurd\". In other words, this is what I feel/suggest: if we look at movies in the drama or sci-fi genre, there are many that are filmed that touches the audience (as opposed to them \"disbelieving\" or even \"ridiculing\" the protagonist). \r\n\r\nI do NOT mind the director keeping the \"alien belief\" of the protagonist, but the obsession can be dealt with in a way most successful films did it (i.e., for a moment, we actually \"believe\" in the existence of aliens!) ... so that the entire movie can maintain a consistent style as well as a consistent mood, and most important of all, makes everything \"realistic\"!\r\n\r\n\r\nEven I can\'t believe myself! Guess what ...\r\nI actually went to watch the movie again ... so that the discussion would be more fruitful ...\r\n\r\nSo, did the movie actually depict UFOs and aliens?\r\nyup ... on several occasions\r\n(i) During summer, Brian, his sister and his mother literally saw the UFO flying over their house ... and not just a blurred UFO ... but a rather detailed UFO ...\r\n(ii) In another scene, he was touched by the \"green hands\" of aliens, only to wake up ...\r\n(iii) The next scene is more \"understandable\" ... when the TV enacted the story of the girl who claimed she was abducted by aliens ... so they even featured three aliens and her elevating ...\r\n(iv) When the girl brought Brian to the animal and insisted he put his hand into blah blah blah ... suddenly he felt the \"green hands\" of the aliens touch him again ...\r\n\r\nthat\'s about it ...\r\n\r\nDespite my lament over the take of the aliens, I would still recommend the film -- go watch it!\r\n\r\n\r\n** Noteworthy, when the film was featured in San Francisco International Film Festival (as a \"surprise\" film), many audience walked out way before the film was over.\r\n\r\n** Once again, I hope more people in the voting committee (for main stream awards) would recognize Joseph Gordon-Levitt\'s performance and at least get him nominated ... winning is not the point ... but I think he should not be penalized simply because of a daring role in a daring film!','8b6d5a6080a1c11aa6745bb995bbb08f',0,'','o69WcBw4',1,0,'',0,0,0),(11556,2078,3,1,0,'69.120.114.47',1132520280,1,0,1,1,1,1,'howardschumann(d)','Re: Mysterious Skin','Whether or not you want to acknowledge it, UFO sightings and reports of being abducted are more than science fiction. They have been a very real phenomenon for over half a century, a phenomenon that includes millions of credible witnesses worldwide. While I think attributing the phenomenon to \"aliens\", is simplistic, the issue is and remains one of the abiding mysteries of our time. If you think it involves only a handful of unstable people, I suggest you do some reading in the area.\r\n\r\nMy only complaint is that the film implied that these experiences could be caused by a screen memory of sexual seduction. This has never been found to be the case.','9cc0ae786c6ae0816352fa0136d02985',0,'','gojpemZs',1,0,'',0,0,0),(11557,2078,3,1,0,'69.120.114.47',1132554480,1,0,1,1,1,1,'hengcs','Re: Mysterious Skin','Let me paraphrase myself ... what I am trying to say is ... I wasn\'t prepared for an alien slant in the film ... just imagine if you go and watch \"American Beauty\" or \"Million Dollar Baby\" or \"The Sea Inside\" or \"Les Choristes\" and suddenly, you see aliens emerging in 1 or 2 segments for whatever plot or reason ... this was how I felt when I watched Mysterious Skin ... a bit weird\r\n\r\nAnyway, fact or fiction has always been controversial ... that is what makes life so interesting ... it is like watching Chinese martial arts film ... some Westerners will simply dismiss it as fantasy and impossible (many do classify it under the genre FANTASY ... e.g., the notion of \"inner strength\" or \"qi\", or the notion of \"flying\" in the air, or the notion of \"darting\" on water (like the dragonfly), etc ... yet many Chinese do believe in them ... \r\n\r\nLet me cite an example, in Crouching Tiger and Hidden Dragon, when the characters started \"running up the wall\", many audience laugh ... yet in Tom Yum Goong, the Thai (Tony Jaa) managed to \"run up the glass wall\" without wires or CGI ... \r\n\r\nBy the way, I am not against an alien take ... see what I wrote above again ... (I repaste them now in color)\r\n\r\nIn other words, this is what I feel/suggest: if we look at movies in the drama or sci-fi genre, there are many that are filmed that touches the audience (as opposed to them \"disbelieving\" or even \"ridiculing\" the protagonist). \r\n\r\nI do NOT mind the director keeping the \"alien belief\" of the protagonist, but the obsession can be dealt with in a way most successful films did it (i.e., for a moment, we actually \"believe\" in the existence of aliens!) ... so that the entire movie can maintain a consistent style as well as a consistent mood ... \r\n\r\nIn essence, I was just trying to say if it has depicted aliens succesfully like the way E.T. did, I would have preferred it.','9ef9d88ece5f57c8f5046d8edd714034',0,'','zv5UgF98',1,0,'',0,0,0),(11558,2078,3,1,0,'69.120.114.47',1132556460,1,0,1,1,1,1,'howardschumann(d)','Re: Mysterious Skin','I think we basically agree that the material could have been handled better. It was played for laughs rather than considered as a serious subject and the woman who had been abducted was depicted as being unstable.','a57b6ca0ee90431f2047786b875920f8',0,'','VU6LoMFq',1,0,'',0,0,0),(11559,2078,3,1,0,'69.120.114.47',1132557180,1,0,1,1,1,1,'hengcs','Re: Mysterious Skin','\r\nexactly','bcad86b3fef35c05362040c604ebe416',0,'','D6GuW79C',1,0,'',0,0,0),(11560,2078,3,1,0,'69.120.114.47',1167812160,1,0,1,1,1,1,'wpqx','Re: Mysterious Skin','Well sometimes it takes me awhile to see a film and this is one of those. I liked the film and found it a much more focused and unified effort compared to my previous Araki encounter (Doom Generation I saw centuries ago). I found nothing wrong with the alien encounters, and thought it was a positive coping mechanism that made perfect sense to me. At first I was a little suspicious of it, but it all came together in the end. Quite a damn good film, and Araki\'s vision works when its a little more subdued.','72fdfccc7bb6c78fe318c1ff1028440a',0,'','x2zdStQJ',1,0,'',0,0,0),(11561,2078,3,1,0,'69.120.114.47',1167905760,1,0,1,1,1,1,'bamboomedia1','Re: Mysterious Skin','I rented this movie a while ago and I fell in love with it. I really like dark/disturbing films but unlike some that shock just to shock this one was very moving as well. I was completely blown away by Joseph Gordon-Levitt like many of you. I hope he continues on this path with performances like this one and his turn in Brick. I have to say the Alien thing made sense to me and I thought it lent well to the story just like wpqx said. I had no idea when I rented this that it was the same guy that directed The Doom Generation. Im glad I didnt because I might not have rented it. All I have to say is that this effort is leaps and bounds above that one.','b35fc7a7e2169e9be61b65e36c495377',0,'','Ev61imwn',1,0,'',0,0,0),(11562,2078,3,1,0,'69.120.114.47',1174005660,1,0,1,1,1,1,'peppajaa','Re: Mysterious Skin','Wasn\'t the alien slant the girl\'s way of explaining away her abuse? Did anybody else see the aliens? It\'s been awhile since I saw the film. . . .','0e553ca817e4f8e70c576e844a40fbc4',0,'','GnNMPv9g',1,0,'',0,0,0),(11563,2078,3,1,0,'69.120.114.47',1174007820,1,0,1,1,1,1,'wpqx','Re: Mysterious Skin','I thought the aliens might have been an attention getting thing for the girl, but I may have read that wrong.','65a600133589e3f5418b762b12057d26',0,'','Rs2EJ7Lh',1,0,'',0,0,0),(11564,2079,3,1,0,'69.120.114.47',1156313220,1,0,1,1,1,1,'arsaib4','Short Takes','Please utilize this thread for your short posts on American films. But if you prefer to use the \"Last Film Seen\" thread or start a new one, then feel free to do so.','7d1fb3ef6151e5dfb3faf1fe5b8996f9',0,'','uCxns7Lh',1,0,'',0,0,0),(11565,2079,3,1,0,'69.120.114.47',1156314540,1,0,1,1,1,1,'arsaib4','Re: Short Takes','THE JACKET (U.S. / 2005)\r\n\r\nUnlike The Pianist (2002), in which Adrian Brody embodied a man who gradually deteriorated but fought to keep himself alive, The Jacket features the star in a role in which he supposedly dies more than once. Brody plays Jack Starks, a Gulf War vet who gets shot in the head during a routine procedural in 1991 (his first encounter with death). After returning home with a severe case of amnesia, things dont go much better for him: hes accused of a murder after he hitched a ride with a stranger and was found passed out with a gun in his hand. Circumstantial evidence leads against him, but due to his mental health, hes found not guilty by reason of insanity and gets institutionalized in one of those One Flew Over the Cookoos Nest-type of environments. The institution is more or less controlled by a sadistic doctor (Kris Kristofferson) who employs his own ways to treat patients, and that includes injecting them with mind-altering drugs and locking them in a morgue drawer (the \"jacket\" of the title) for hours at a time. While in there, Jack isnt properly able to recall the past, but he does end up time-traveling to the year 2007. There he meets a downtrodden waitress (Keira Knightley), someone he might have encountered in his past, who informs him that he died in 1993. Now its up to jack to find out what exactly happened as time is running out for him.\r\n\r\nAn interesting premise whose certain facets have been explored with much depth in films like Jacobs Ladder (1990) and 12 Monkeys (1995). The Jacket wants you to believe that it is cerebral and ingenious, but the more one examines it, the less profound it becomes. The project has certainly attracted some big names. It is produced by Section Eight, the independent brand of Steven Soderbergh and George Clooney. They chose director John Maybury, a Brit who was an understudy of the brilliant Derek Jarman at one point, and directed the formidable Francis Bacon biopic titled Love Is the Devil in 1998. Mayburys background as a visual artist has been put to good use, especially during the hallucination sequences, and hes well aided by DP Peter Deming (Lost Highway [1997], Mulholland Drive [2001]). But some of the compositions are criminally overdone to the point that they start resembling the processes of an MTV-hack. Even with all the time-shifting, the screenplay keeps its head until the final act where any semblance of clarity is sacrificed for melodrama. After the formal rigorosity of The Pianist, this was probably a walk in the park for Mr. Brody, but even in various dissolutory stages he is as brazenly alive here as hes ever been. And that\'s the main reason why The Jacket seems agreeable even when it\'s disintegrating in front of our very eyes.\r\n\r\n______________________\r\n\r\n*Available on DVD in the U.S. (Warner).','47fa60db3e62d2e3126137d44489399d',0,'','JL30wZCz',1,0,'',0,0,0),(11566,2079,3,1,0,'69.120.114.47',1156315380,1,0,1,1,1,1,'arsaib4','Re: Short Takes','IN HER SHOES (U.S. / 2005)\r\n\r\nDirector Curtis Hansons recent work has been nothing but ambitious: two complex literary adaptations, L.A. Confidential (1997) and Wonder Boys (2000), were followed by a tough-as-nails drama 8 Mile (2002). And while his latest effort, In Her Shoes, might seem like a compromise with its transient, glossy exteriors supporting archetypal characters, Hanson has been able to infuse them and the film with some depth and a touch of wit. Cameron Diaz plays Maggie, a narcissistic, illiterate party animal sans a direction in her life whos practically living off of others. One of them is her responsible yet sensitive older sister Rose (Toni Collette), a corporate lawyer in Philadelphia (another city on the East Coast besides Chicago and Boston that seems to be filling in for New York nowadaysthankfully, I say). Eventually, a confrontation involving the latters man and weight problems forces the former to seek out their grandmother (Shirley MacLaine), who was believed to have abandoned the sisters at a young age after their mother died. Any sitcom-ish tendencies present in the early sequences are offset by the great chemistry between the sisters. But the film finds its true rhythm once the scene partly shifts to Florida, where Maggie goes through a gradual transformation with some help; same goes for Rose whos finally able to find someone who acknowledges her for who she is. So its a shame that Hanson tends to lose sight of the big picture during the prolonged third act, in which the \"chick-flick\" quotient also threatens to reach unbearable levels. But he consistently coaxes strong, understated performances from the trio who make the film work.\r\n\r\n_____________________\r\n\r\n*Available on DVD in the U.S. (Fox).','249b809f6a3f984ec91f1c3638e54212',0,'','PGoQLbmy',1,0,'',0,0,0),(11567,2079,3,1,0,'69.120.114.47',1156316580,1,0,1,1,1,1,'arsaib4','Re: Short Takes','CONSTANTINE (U.S. / 2005)\r\n\r\n\"Youre @#%$!\" Thats what archangel Gabriel (Tilda Swinton at her most asexual) barks to John Constantine in Francis Lawrence\'s surprisingly entertaining Constantine. Adapted from -- you guessed it -- a \"graphic novel,\" in this case a series belonging to DC Comics/Vertigo called \"Hellblazer,\" it features Keanu Reeves as the title character: a selfishly doomed urban-warrior who is trying to atone for his sins. Constantine is destined to go to hell (which curiously looked like Los Angeles on a very hot day) because he once attempted suicide due to the fact that he was born with a special ability to locate the half-breed angels and demons among us -- and now, he drives around LA with his cabby friend (Shia LaBeouf) to perform tax-free exorcisms on the \"bad\" in order to earn a ticket into heaven. Early on in the film, a \"Spear of Destiny\" gets discovered in Mexico which is soon followed by a suicide of a female patient who had something in common with Constantine. Her twin sister, a devoutly catholic cop (the serenely beautiful Rachel Weisz), investigates the matter, and she eventually ends up crossing paths with Constantine. They discover that the precious balance between good and evil is starting to tilt in the wrong direction.\r\n\r\nDirector Francis Lawrence makes full use of his music-video background and unleashes some eye-popping visuals in Constantine (cinematography and production/creature design are also top notch). But, thankfully, the film doesnt just move from one set-piece to another, allowing us to spend some time with the characters even though what comes out of their mouths is mostly gibberish. A chain-smokingly noirish Keanu Reeves is riveting to watch (yup, thats right), even when he seems to be channeling the obsessive twitchiness of Nic Cage. He invigorates the film with his sardonic deliveries and especially by parodying his \"Matrix\" persona thus letting us in on the joke (something the final two installments of \"The Matrix Trilogy\" failed to do, and thus ended up collapsing under their own weight). Constantines mysticisms and theologies are convoluted to the point that they shouldnt offend anyone, but I have been wrong before. Peter Stormare shows up late as \"Lou\" (Lucifer, that is), and almost saves the films preposterous finale with his snaky charm, although I was disappointed that Steve Buscemi didnt came as \"you know who.\" But all in all, Constantine is a big, bold, and nasty piece of work featuring B-movie energy that has so often been missing from Hollywood in recent years. I probably havent had this much \"fun\" since HellBoy (2004), and one thing is for sure: there are no guilty pleasures.\r\n\r\n__________________\r\n\r\n*Available on DVD in the U.S. (Warner).','173da472d8c5f74a4dd113071edb0c0f',0,'','V0sv3KUM',1,0,'',0,0,0),(11568,2079,3,1,0,'69.120.114.47',1156354620,1,0,1,1,1,1,'wpqx','Re: Short Takes','I\'ll keep my own thread thank you Anyways, the only recent short films I\'ve been watching are some of Griffith\'s early films. Been watching too many at once to really differentiate between any of them, but I can see how so many people made a stink about His Trust, which features a scene of a little girl riding a black servant around the house like a pony, a favorite clip of Spike Lee\'s. \r\n\r\nAs far as the films mentioned above, I enjoyed In Her Shoes, but that was about it, just call it enjoyable. Hansen has done better (LA Confidential is in my top 100) but for the first time I actually believed that Cameron Diaz might be able to act. I really think that Hansen is one of the best actor\'s directors out there, he gets such amazing work out of so many substandard actors.','f043968158a4be10b5f2ad0a19cd1c98',0,'','cvCYxSoi',1,0,'',0,0,0),(11569,2079,3,1,0,'69.120.114.47',1156373880,1,0,1,1,1,1,'justindeimen','Re: Short Takes','I can\'t really get a true enough answer on this. But in your opinion, is Griffith a commentator of the times? Or the oft used phrase of being racist?','1716adb8fe990fcf156988a9b2d43675',0,'','fl4RianH',1,0,'',0,0,0),(11570,2079,3,1,0,'69.120.114.47',1156378380,1,0,1,1,1,1,'arsaib4','Re: Short Takes','\"I\'ll keep my own thread thank you Anyways, the only recent short films I\'ve been watching are some of Griffith\'s early films. \"\r\n\r\nYeah, if you want, just use this one for your brief posts on new American films. There is a thread for short films also.\r\n\r\n\"I enjoyed In Her Shoes, but that was about it, just call it enjoyable. Hansen has done better (LA Confidential is in my top 100) but for the first time I actually believed that Cameron Diaz might be able to act. I really think that Hansen is one of the best actor\'s directors out there, he gets such amazing work out of so many substandard actors.\"\r\n\r\nCouldn\'t agree more.','cfe0246210cdaa1bc3e255ab8f676f1e',0,'','jMJco4u9',1,0,'',0,0,0),(11571,2079,3,1,0,'69.120.114.47',1156381560,1,0,1,1,1,1,'arsaib4','Re: Short Takes','OFF THE MAP (U.S. / 2003)\r\n\r\nThe definition of whats considered an \"independent\" film nowadays has certainly broadened. In recent years, weve seen big-budget films financed by sub-divisions of major studios competing with the rest of the market, yet theyre still considered indies. However, that doesnt apply to Campbell Scotts Off the Map. Unlike those \"pseudo-indies,\" it was made with as minuscule a budget as possible, but it languished without a distribution deal for nearly two years after premiering at Sundance in 2003. In most cases, the blame is placed on the distributors for not taking enough chances, but thats hard to do for Scott\'s effort. \r\n\r\nA voice-over narration -- overutilized here, which usually signals that the director doesnt have much confidence in his own abilities -- from a young woman takes us to the summer of 1974 when she was a precocious 11-year-old (Valentina de Angelis) living at an off-the-map location somewhere in New Mexico with her enterprising \"earth mother\" (Joan Allen) and an almost catatonic father (Sam Elliot). No one quite knows what ails the patriarch, but its probably not that they primarily live off the land and their makeshift house is devoid of any modern comforts. Then one day, another depressed soul, this time a tax-inspector, shows up at their paradise but conveniently passes out perhaps due to the overwhelming milieu or the fact that Allen was in the nude admiring the beauty of a nearby coyote. Needless to say, he ends up staying for a little longer than what anyone in the family expected, but he expectedly (at least to us) ends up bringing about certain changes to this unit. \r\n\r\nScott has a lot going for him in Off the Map: the strong performances from Allen and Elliot; the breathtaking, Malick-esque visuals of Juan Ruiz Ancha; an unusual subject matter. But he fails to properly take advantage. Certainly, the stilted dialogue, part of a poorly written screenplay (surprisingly since writer Joan Ackermann adapted it from her own play) didnt help matters. Another problem here is that our young narrator is the least interesting character; her overly-theatrical performance is annoying to say the least. Instead of adapting a metaphysical and poetic stance (it\'s possible that he simply isnt capable), Scott chooses a more conventional approach for a film which moves in fits and starts, and ends up grinding to a halt.\r\n\r\n______________________\r\n\r\n*Available on DVD in the U.S. (Sony)','117df84c7c2d71aa1ee8c0cd9972b8a5',0,'','g7pNrcHC',1,0,'',0,0,0),(11572,2079,3,1,0,'69.120.114.47',1156382520,1,0,1,1,1,1,'arsaib4','Re: Short Takes','DOMINO (U.S. / 2005)\r\n\r\nNY Times\' chief-critic Manohla Dargis, one of only two major U.S. critics to positively review Tony Scotts Domino, wrote in her review that \"it is tough to pinpoint the precise moment when [the film] ceases being just another guns-and-poses divertissement and becomes a lollapalooza of delectable cheap thrills.\" Actually, it\'s difficult to find a moment when it isn\'t both. Dominos title card reads: \"Based on a true story... sort of.\" The \"sort of\" part was perhaps added after the films real life subject, Domino Harvey, died of a drug overdose a few months before the film\'s release. She was infamous for rejecting her privileged lifestyle -- as a daughter of actor Laurence Harvey and model Paulene Stone -- to become an L.A. bounty hunter. A sizzling Keira Knightley, whos perhaps still trying to shed the good-girl image, plays Domino with a kick-ass bravado that certainly would\'ve made her proud. Scott is up to his old tricks, however, as he flies through Dominos backstory after we watch her square off with an FBI agent (Lucy Liu). Then the filmmaker tries to \"True Romance\" Domino, but he isnt working with Tarantino here. Instead, he has Richard Kelly from the now overrated Donnie Darko (2001) who almost tries to write himself into the convoluted script. And thats a shame because at times the film not only relegates its titular character to the background, but also the likes of Mickey Rourke (Dominos bounty hunting partner and an avid porn connoisseur) and Christopher Walken (an obsessive reality TV producer). There aren\'t many shots in Domino that last more than a second, so if one typically enjoys getting their brains @#%$-out, then they just might fall in love with this film. I was happy with an orgasm.\r\n\r\n_________________________\r\n\r\n*Available on DVD in the U.S. (New Line).','4bcb6f143d850692bda88a5a4ac18265',0,'','uvkQZ145',1,0,'',0,0,0),(11573,2079,3,1,0,'69.120.114.47',1156450200,1,0,1,1,1,1,'wpqx','Re: Short Takes','re: Griffith\r\n\r\nI think it is exceptionally easy to take Griffith out of context, and therefore easily prove your case that he and many of his films were racist. However this was a man who had a fondness for black people, viewed Abraham Lincoln as the greatest American whoever lived, and just happened to be making movies in a very different social time. People shriek in horror at the actors in black face, but there were no real black actors to speak of, similar to men playing women\'s roles in Elizabethean theatre. His Trust is a prime example of this misrepresenting. No one would shriek in horror if a white man, or white servant no less gave a little girl a piggy back ride around the house, he would just be friendly to a little girl. However when the girl is white and the man is in blackface it suddenly has a much different connotation. The rest of the film goes to show this \"servant\" as a loyal and trustworthy to the family he serves, and makes no effort to villify him or demean him any more than a typical servant might be regardless of race. I also think that in the case of Birth of a Nation, Griffith was making a somewhat accurate depiction of the Reconstruction and the history of it was hardly pretty, and it is hard not to come off as racist if you don\'t whitewash history.','3407c84b537e5605c9679c6daa532740',0,'','yY6wa5E0',1,0,'',0,0,0),(11574,2079,3,1,0,'69.120.114.47',1156453740,1,0,1,1,1,1,'justindeimen','Re: Short Takes','Well put! That\'s the response that I\'ve always believed in despite the polarised views of his groundbreaking films.','b09613ddf1a08dd7fecd234c1b3bdcc0',0,'','bG3hYPUS',1,0,'',0,0,0),(11575,2079,3,1,0,'69.120.114.47',1156470780,1,0,1,1,1,1,'arsaib4','Re: Short Takes','HAPPY ENDINGS (U.S. / 2005)\r\n\r\n\r\n\r\nDan Roos Happy Endings just might be the first great post-modern relationship comedy which successfully deals with \"hybrids.\" In this case, by hybrids I mean people who may not be quite real, but theyre also a little more than clever manifestations of a geeky Sundance-lab-approved-screenwriter. Roos, coming back to his indie-roots he cultivated with The Opposite of Sex (1998), takes us to the pseudo-bohemian SoCal we usually and only partly get to glimpse in montage sequences of Hollywood films. But here he introduces us to the over-bearing lesbians, unfaithful gay men (whove apparently been droppin babies like Basketball stars -- Roos is himself gay), gold-digging nymphets, failed musicians, etc. who seemingly populate those areas. And if these people arent relatable to most, Roos is more than happy to help with his self-consciously fulfilling title-cards. All of this is not supposed to work, but somehow it does. \r\n\r\nThe three main narrative strands in Happy Endings involve as many as ten characters. In the somewhat far-fetched first one, an unhappy, middle-aged woman (Lisa Kudrow), whos partially involved with a Mexican masseuse (Bobby Cannavale), gets blackmailed by an amateur documentarian (Jesse Bradford) about her certain past. In the second, the gay stepbrother (a brilliantly deadpan Steve Coogan) of the aforementioned unhappy woman suspects that his lover is the father of the baby belonging to their mutual lesbian friends (Laura Dern and Sarah Clarke). And the third involves a closeted gay band-member (Jason Ritter) who becomes part of the scheme of a free-spirited singer (Maggie Gyllenhaal) whos eyeing his rich widower father (a wonderful Tom Arnold). \r\n\r\nWhile Robert Altmans shadow will always be visible in films with multiple interweaving characters, Roos seems blissfully naive about his \"creations.\" That doesnt mean that there arent any real moments here -- there certainly are, but Roos doesnt make them resoundingly assertive. Also, he prefers not to wait till said instances degrade into uneasiness; instead, he simply moves on. Some satirical aspects are also present in Happy Endings, though the filmmaker ultimately cares about the characters, a lot more than what he initially let on with his cleverness. As a writer also, Roos certainly hasn\'t lost his penchant for acerbically witty one-liners: An abortion counselor, \"Im not pro-life.\" The client, \" Who is, once you start paying attention.\" \r\n\r\nEven at 130 minutes, the film never feels like an \"epic,\" and that\'s partly because it is largely comprised of small, intimately shot moments: a close-up of Lisa kudrows creased face is more than enough to reveal a life lived. It grounds the film when it needs it. As for Maggie Gyllenhaal, her performance is one of the great cinematic pleasures of 2005. She creates a character almost out of nothing and then disappears in it -- no wonder she becomes invisible to everyone around her.\r\n\r\n________________________\r\n\r\n*Available on DVD in the U.S. (Lions Gate).','531384652bf12dc3ce603168dc416679',0,'','d9lHCqg7',1,0,'',0,0,0),(11576,2079,3,1,0,'69.120.114.47',1156483020,1,0,1,1,1,1,'arsaib4','Re: Short Takes','[Previously unposted From TIFF \'05]\r\n\r\nSORRY, HATERS (U.S. / 2005)\r\n___________________\r\n*A 2006 U.S. Release* \r\n\r\n\r\n\r\nA fascinating, if not wholly satisfying, psychological drama about the uncertainties and anxieties that exist in post-9/11 America, Sorry, Haters is the second feature film from young American filmmaker Jeff Stanzler. Shot on digital-video, the film resembles Michael Manns Collateral (2004) in the initial stages after an odd figure ends up with an earnest cabby. But in this case, the ride only sets up the events that follow. Robin Wright Penn plays Phoebe, the distraught figure who we watch trying to withdraw some cash in midtown Manhattan early on in the film. After hitching a cab driven by an Arab Muslim, Ashade (Abdel Kechiche), she goes uptown and steps out briefly only to scratch a minivan which she claims belongs to her husband who now has eyes for their Asian babysitter. It doesnt take her long to get herself involved with Ashade after she learns that his brother has been wrongly deported back to Syria, where his life is in danger. In the meantime, Ashade has to look after his brother\'s French wife (lodie Bouchez) and their baby. Presenting herself as a well-connected media mogul, Phoebe offers her help which Ashade hesitantly accepts, not quite recognizing her motivations.\r\n\r\nThe title of the film is derived from a slogan spoken by wealthy entertainers on MTV-shows while blithely trying to deflect any criticism after showcasing their latest purchases -- and thats something which is as oblique as the film itself. There isnt much doubt about the fact that Sorry, Haters is politically motivated, but it works better as a personal story of self-hatred and depression, or perhaps even as a thriller. Having said that, the film ultimately is gutsier than Manoel de Oliveira\'s A Talking Picture (2004), as it grants viewers the opportunity to take in the twists and turns along the way leading up to the final episode. For the most part, Stanzler keeps the proceedings from wavering, even though he indulges in some broad strokes. But no matter how silly certain sequences get, what makes the film agreeable are the performances. Penn is sensational as a conflicted woman, and Kechiche, the director of the Csar winning Games of Love and Chance (2003), displays the right amount of compassion and credulity. Sandra Oh has a brief role as Penns co-worker and, as always, she livens up the surroundings.\r\n\r\nGrade: B\r\n___________________\r\n\r\n*Available on DVD in the U.S. (IFC).','52faa058c3321b7f0be0eb08521050cc',0,'','wDv95uZH',1,0,'',0,0,0),(11577,2079,3,1,0,'69.120.114.47',1156790640,1,0,1,1,1,1,'A','Re: Short Takes','Sleepy Hollow\r\n(Tim Burton / USA, Germany / 1999)\r\n\r\n\r\nSleepy Hollow. I saw the film for the first time when it came out in 1999. Being a huge fan of Tim Burton at that time, I was somewhat disappointed by this rather predictable endeavour which seemed to lack the imagination I was used from most of his previous films. Subsequently I saw it three more times at the cinema, after which I became a firm believer in the films qualities. Dont know what exactly made me change my mind, but having seen the film some eight times since then, I saw my opinion confirmed with each viewing. But how can one judge a film objectively which one has seen so many times that it has already become a firm part of the collective memory of cinematic experiences. Maybe one could argue that knowing every scenes content in hindsight can help focusing on the technical qualities.\r\n\r\nWhile watching the prologue of Sleepy Hollow, I couldnt help being reminded of Terrence Malicks marvelous The New World, which I had watched again shortly before revisiting Tim Burtons fairytale. I tried to find a logical explanation for this, but didnt succeed in identifying the obvious. When the titles finally came up, the parallel I had subconsciously established, stepped onto firm ground. Cameraman Emmanuel Lubezki, who had previously added his artistic vision to numerous brazilian movies, was responsible for the cinematography in both films, for which he was respectively nominated for an Academy Award. With his use of light and shadows he complements the art-direction (which won an Academy Award) perfectly, and because it seems he is always using a filter the colors begin to play an integral part of the film. Along with the fitting costume design (also Oscar-nominated) the atmosphere created has an artistic quality all of its own, making the set appear in an artificiality which is reminiscent of the mood in Hammers horror productions from the 60s and 70s. A world that is seemingly enclosed, somewhat cut off, not only by the omnipresent fog surrounding the village but also through the use of computer generated images, from a filmhistory it keeps constantly referencing. One could try to point out all the scenes from which Burton has gotten some inspiration (or which he has simply copied), but it was proved more rewarding at least for me to focus on his presentation of the plot and the characters. In a remarkable cast, the two elements that stood out most negatively where interestingly the two leads, Johnny Depp and Christina Ricci, precisely in the moments when they appeared on-screen together. Somehow their emotional scenes felt overtly rushed and little developed, when Burton took sufficient time in seemingly less important moments, while even showing some subtlety in his deployment of comical material. While keeping an extremely tight pace, reminiscent of the classic Hollywood films from the 40s like Raoul Walshs They Drive by Night, the absurdity of many scenes isnt simply added as comical relieve, but is itself an integral part in the films conception. The interplay between (absurd) comedy and scenes of pure horror, blurrs the lines of both to an extent where both become interchangable. When Christopher Walken is seen for the first time on screen, he is introduced as a bloodthirsty madman, in a close-up of his face where he is shown bareing his filed off teeth in slow motion. If one should cry out in horror or burst out laughing is up to the viewer. \r\n\r\nNevertheless the above-mentioned technical elements all add up to save a run-of-the-mill story from its mediocrity and to transform the movie into a visual experience. They more than make up for some scenes where Hollywood Wunderkind Tim Burton has apparently been taking a nap, while we are again witnesses to the fact that conventional storytelling clearly isnt Burtons strength. After being forced into such a corset once more with his next film Planet of the Apes (2001) which many regard as his biggest failure he was finally able to prove his immense capabilities with a subject more suited to his needs, the wonderful Big Fish from 2003. Hopefully Burton wont have to waste his talents in other big-budget productions in the future, in order to conform to the expectatons of major studios which he had raised through the financial succes of Batman in 1989. Thus it is probably a good thing that he didnt direct this years Superman movie, through which he could have been once more forced into a position he himself had never wanted to occupy.\r\n\r\n\r\nGrade: B ( 73 out of 100)','bc24f93c6077363b08310a805dc1adbb',0,'','g09WAain',1,0,'',0,0,0),(11578,2079,3,1,0,'69.120.114.47',1156792380,1,0,1,1,1,1,'A','Re: Short Takes','Just read your delightful comments in this thread, and I\'m glad you opened it. Hopefully there will be more to come pretty soon. \r\nI hope you don\'t mind myself posting on some \"older\" films, and if my image-spam gets too much... oh I simply couldn\'t resist.','235592aac01c1e7842fa98b2958817ad',0,'','MgELUpfR',1,0,'',0,0,0),(11579,2079,3,1,0,'69.120.114.47',1156815660,1,0,1,1,1,1,'arsaib4','Re: Short Takes','\"With his use of light and shadows he complements the art-direction (which won an Academy Award) perfectly, and because it seems he is always using a filter the colors begin to play an integral part of the film. Along with the fitting costume design (also Oscar-nominated) the atmosphere created has an artistic quality all of its own, making the set appear in an artificiality which is reminiscent of the mood in Hammers horror productions from the 60s and 70s.\"\r\n\r\nVery well stated, A. Technically speaking, Sleepy Hollow is masterful; I absolutely love the work done here by Lubezki, aided quite well by production-designers and art-directors. (Though, ultimately, the credit obviously goes to Burton\'s radically distinctive imagination.)','35f25b05e8fe08983fc4f774448eb220',0,'','XDCp3wge',1,0,'',0,0,0),(11580,2079,3,1,0,'69.120.114.47',1157049420,1,0,1,1,1,1,'A','Re: Short Takes','I also assume that most credit should go to Burton and his visual concept for the film - at least that\'s what I\'ve read.\r\nAnd it also explains my high rating, as the movie fits together.','4a226db18a43e4dbebbfcccce4c161df',0,'','WUX6hbQA',1,0,'',0,0,0),(11581,2079,3,1,0,'69.120.114.47',1157060700,1,0,1,1,1,1,'wpqx','Re: Short Takes','See in schools here in the US, generally 80-89 out of 100 would be a grade of a B, but maybe you\'re on a different system over there.','eea601c982053690ad99c898e2415a9d',0,'','YKZ5J9uB',1,0,'',0,0,0),(11582,2079,3,1,0,'69.120.114.47',1157071920,1,0,1,1,1,1,'A','Re: Short Takes','As far as I know it isn\'t common to rate on a 100 scale in Germany. \r\nMy rating scale is a bit different (and rather strict).\r\nThe grades given are only approximations, as I generally don\'t use them, and when I write them down, it\'s meant as a comparison for people who also use them. As a generalization (though there are often exceptions) films with a rating above 50 are worth watching - below at your own risk.\r\n\r\nhigher than 100: don\'t ask...\r\n98 - 100: A+\r\n90 - 97: A\r\n80 - 89: A-\r\n75 - 79: B+\r\n70 - 74: B\r\n60 - 69: B-\r\n56 - 59: C+\r\n50 - 55: C\r\n\r\n40 - 49: C-\r\n30 - 39: D+\r\n20 - 29: D-\r\n10 - 19: F\r\n00 - 09: don\'t ask...\r\n\r\nB is on my scale a very good film, which is compulsively watchable. Films with a B (above 70) are imo worth owning! And I\'d buy most of the stuff above 60 (B-).\r\nFilms above 80 are personal favorites.\r\nSo maybe I\'m not that strict at all.','6efff002c08208aa7fa76d7748b25567',0,'','GdD3Bwiz',1,0,'',0,0,0),(11583,2079,3,1,0,'69.120.114.47',1157335560,1,0,1,1,1,1,'arsaib4','Re: Short Takes','LORD OF WAR (U.S. / 2005)\r\n\r\n\"Buy 6, get 1 for free.\" Thats what a Ukrainian army general informs Yuri Orlov (Nicolas Cage) while referring to Cold War-era Soviet tanks in Lord of War, a convoluted satire about the illegal gunrunning operations. The film\'s opening and ending sequences are quite effective, but for much of its over-long running time, it relies a little too heavily on tawdry one-liners -- surprising considering that it appears to have a socio-political agenda and is allegedly \"based on true events\" (we know to be careful when this line appears on our multiplex screens). Orlov, a Ukrainian migr, is the \"lord of war\": an arms-dealer without scruples, who narrates his ups-and-downs that also involve his parents, his brother (Jared Leto), and a model wife (Bridget Moynahan). He got involved in this trade on a low-level in the early-80s New York, but later discovered a gold mine in his homeland after the fall of Soviet Union. We follow Orlov from Ukraine to Columbia to Afghanistan, but the film mostly settles him in Liberia (thankfully a real African country even though thats where a few clichs rear their ugly heads). On his trail is an Interpol agent (Ethan Hawke), and he faces competition from another dealer (Ian Holm), but that usually doesnt stop Orlov from doing what he does best. Lord of War is written and directed by Andrew Niccol (Gattaca [1997], S1m0ne [2002]), a talented filmmaker who, despite concocting interesting premises for his films, has never quite been able to put the proper finishes touches. Here, the screenplay carelessly throws out dates and events that seem just as imposterous as the name of the ship on which once arms were aboard, and the constant attempts to detail Orlovs personal life end up being futile. However, the film boasts excellent cinematography (Amir M. Mokri) and production-design (Jean-Vincent Puzos). And while at times it ends up glorifying the man whose occupation it tries to condemn, Lord of War ultimately fires a bullet which isnt supposed to hurt, but somehow it does.\r\n\r\n______________________\r\n\r\n*Available on DVD in the U.S. (Lions Gate).','b85e00ab6a79d57617844cdb58a4253b',0,'','svjYNHot',1,0,'',0,0,0),(11584,2079,3,1,0,'69.120.114.47',1157963040,1,0,1,1,1,1,'arsaib4','Re: Short Takes','[An old, previously missing post]\r\n\r\nTHE RING TWO (U.S. / 2005)\r\n\r\nThe Ring Two is, obviously, a sequel of The Ring, which was released in 2002 as a remake of a Japanese film called Ringu (1998), a film which has also mutated all over the east-Asian seaboard. The Ring Two is not a remake of Ringu 2 (1999), but it is directed by the guy who made both Ringu and Ringu 2. Got it? No need really, and your brain can also rest in piece while youre watching the film, which is actually not quite the disaster it is made out to be. Naomi Watts and her son have now moved away from Seattle (where the killer videotape copy did quite a bit of damage) to a small town in Oregon. Apparently, one copy of the tape is still alive, and shows up near two teenagers about to @#%$ (how original!) in the films peculiar opening sequence. It does get better though as director Hideo Nakatas unearthly camera begins to glide up, down, and sideways; also, for the most part, the reliance on atmospheric dread is a welcome sight. The tape eventually gets burned (I could swear I heard some eerie sounds coming from the vhs industry), but this allows for the vengeful Samara (you know, the one with the hair) to take center-stage. However -- other than a wonderful sequence involving angry reindeers -- its onwards and downwards from there as the script by Ehren Kruger tries to channel The Exorcist (1973) and The Omen (1976) through The Shinning (1980), eventually settling on \"Carrie\" -- Sissy Spacek, that is. She is part of a late episode involving maternal impulses which couldve been introduced earlier. But it\'s all a set-up for the ultimate denouement. In an obvious attempt to pump-up this bloodless PG film into a PG-13 one, we hear Watts (giving a professional performance) scream: \"Im not your @#%$ mommy,\" as she closes an opening. Hopefully, \"The Ring Three\" will struggle to come out of it.\r\n\r\n______________________\r\n\r\n*Available on DVD in the U.S. (Universal).','c9b87e07096ec97e2f78da99ae952e9b',0,'','ED4TWLYv',1,0,'',0,0,0),(11585,2079,3,1,0,'69.120.114.47',1158304680,1,0,1,1,1,1,'arsaib4','Re: Short Takes','[And yet another old, previously missing post]\r\n\r\nTHE ICE HARVEST (U.S. / 2005)\r\n\r\n\r\n\r\nIf the words \"Ho @#%$ Ho\" are uttered early on in a film which is set on Christmas Eve, then it shouldnt be difficult for one to conclude that this may not be an average holiday effort starring Tim Allen. Indeed, continuing the tradition of the surprisingly successful Bad Santa (2003), The Ice Harvest is a blackly comedic tale (less comic, but much darker than the former), which unfolds via a largely unemployed vein of late: a straight noir, seemingly out-of-fashion since the disaster of Oliver Stones U Turn (1997). The Wichita, Kansas set story features John Cusack as Charlie Arglist, a mob lawyer who schemes with a local strip-club manager, Vic (Billy Bob Thornton), to rob one of his clients of $2 million. While this \"perfect crime\" is pulled off without any hassles, the uncompromising weather conditions prevent them from immediately leaving the city which also represents a quagmire of personal and professional regrets for Arglist. Directed by Harold Ramis (Groundhog Day [1993], Analyze This [1999]), The Ice Harvest features a frigid, sterile surface that well complements the motivations of its protagonists (though, Cusacks hangdog face doesnt always help matters). The duo are mostly seen in seedy strip joints or cocktail bars, with one being owned by the films requisite femme-fatale (a beguiling Connie Nielson), who, of course, is deeply tangled in ways these women tend to be. The script by Robert Benton and Richard Russo is consistently involving, while featuring some delicious one-liners (mostly delivered by Thornton, the perfect anti-hero). But whats truly remarkable about this film is how boldly and thoroughly unselfconscious it is, obliterating any false hopes for a nudge or a wink along the way. Hopefully there will be a harvest of these sort of films around Christmas time for years to come. \r\n\r\n_______________________\r\n\r\n*Available on DVD in the U.S. (Universal).','79b97c6545ef26e9dfb3c8393e3d2f1d',0,'','41o0BisQ',1,0,'',0,0,0),(11586,2079,3,1,0,'69.120.114.47',1158526140,1,0,1,1,1,1,'A','Re: Short Takes','Sounds like I should be watching this on Christmas \r\nI usually like Ramis\' stuff, and Benton is a good screenwriter in my book. Billy Bob Thornton is another plus, ans \"straight noir\" sounds wonderful to my ears. \r\nI really enjoyed U-Turn (Penn is wonderful in all these situations ), and something like that on precious Christmas time. Yummie!','168387bb8db37c6a848b8787ccb78f15',0,'','lM4iUvy0',1,0,'',0,0,0),(11587,2079,3,1,0,'69.120.114.47',1158530940,1,0,1,1,1,1,'arsaib4','Re: Short Takes','Like any Oliver Stone film, U Turn is never less than interesting, but Stone\'s visual and thematic overkill eventually took its toll on me. Also, I thought both Thornton (who is barely recognizable in the film) and Nolte chewed so much scenery that there wasn\'t much left for Penn.','16087fd27a46397f1fe3d11b8ac1c82b',0,'','mKqVLo8X',1,0,'',0,0,0),(11588,2079,3,1,0,'69.120.114.47',1158537060,1,0,1,1,1,1,'A','Re: Short Takes','But that\'s the premise that i really liked about the film. Everything is incredibly over the top, so that the cocksure Penn is constantly upstaged, as everybody is somewhat superior to him. i really enjoyed this irony, and the fact that he still gets away in the end, but definitely bruised by the Americana he encountered. Actually this could be my favorite movie by Stone, as i usually don\'t think his criticism is completely successful when he goes \"serious\" (he also often uses too much pathos for my taste).','f76d235d1b6cfb3b536a05a1da1affe7',0,'','PRHFai0w',1,0,'',0,0,0),(11589,2079,3,1,0,'69.120.114.47',1158560280,1,0,1,1,1,1,'arsaib4','Re: Short Takes','I wasn\'t referring to their characterizations but rather what they have a tendency to do as actors. \r\n\r\n\"... and the fact that he still gets away in the end, but definitely bruised by the Americana he encountered.\"\r\n\r\nHe actually doesn\'t get away. Obviously, \"the Americana,\" which foreign filmmakers and audiences -- espeically of the European variety -- have a unique perception of, was a bit too much for him.\r\n\r\nI rate just about every Stone film higher than U Turn. (Yes, even the much-maligned Alexander.)','fe6caa7cca60f8658960174dd32e828a',0,'','irT3vw02',1,0,'',0,0,0),(11590,2079,3,1,0,'69.120.114.47',1158585480,1,0,1,1,1,1,'A','Re: Short Takes','Ok, but to me both things worked fine together. I actually liked the way Nolte portrays his character very much. But I guess I\'ll have to watch it again, as I recalled that Penn survives in the end... \r\nHaven\'t seen Alexander yet, due to the fact that only one person I spoke to liked the film. Everybody was complaining about it so much, and i heared that the theatrical release was cut as well, so I decided to skip it.','b8b013f45c0c6759b9a8109c23b352b3',0,'','Sdx8qbYH',1,0,'',0,0,0),(11591,2079,3,1,0,'69.120.114.47',1158607440,1,0,1,1,1,1,'wpqx','Re: Short Takes','I enjoyed U-Turn but I hardly will commend it as a masterpiece, and have enjoyed most if not all of the Stone films I\'ve seen more, but I\'ve somewhat avoided a couple, and have plenty to see.','3033117e6071c0228fb68bddb9df7dd9',0,'','H3ec5Jzl',1,0,'',0,0,0),(11592,2079,3,1,0,'69.120.114.47',1159856940,1,0,1,1,1,1,'arsaib4','Re: Short Takes','MIAMI VICE (U.S. / 2006)\r\n\r\n\r\n\r\nDespite all the reservations that people (including filmmakers) have regarding the use of digital and high-definition video, this format has the potential of becoming the most effective mechanism for portraying emotional and physical vacuity on-screen. While Chinese director Jia Zhang-ke and his DP Yu Lik-Wai have set the standard with their employment of HD in The World (2004) and Still Life (2006), Michael Mann and his partner-in-crime Dion Beebe have done their very best to achieve similar results with Collateral (2004), and now, Miami Vice. \r\n\r\nThe long, overhead shots in Collateral ultimately never quite coalesced with the characters that mightve been physically displaced, but their lack of depth prevented them from being emotionally so as well. And thus, unlike Heat (1995), Manns best film so far, his existential yearnings didnt have a base to exist on. The characters in Miami Vice may not be much deeper, but they are, or at least seem, tangible, and thats due to the directors exquisite formal schemes. In the film, Manns camera often glides in and around the action, instead of simply hovering on top; and hes been able to discover a certain level of intimacy between him and his actors thats required for what he wants to accomplish. While the delineation -- not to mention the rich black skin -- of both Jamie Fox and Naomi Harris, who are more than just fellow vice cops in the film, shines through even in the glory of digital grain, Mann finds his marker with the films other, much more enigmatic couple. The pale, colorless skin of a brilliant Gong Li -- finally a femme-fatale who looks and acts unconventionally -- might be the primary reason behind her ghost-like mien, but Mann only accentuates her ordeal by providing her with someone similar: Colin Farrell, who can hold the screen as well as any actor working today. They fall hard and fast, and Manns resolutely empty mise-en-scne intelligibly deciphers what comes next -- which is somber enough to draw an errant tear, much like Gongs. \r\n\r\nAlso, Beebes HD palette which is mostly comprised of shadowy blacks and greys, not only provides a greater degree of verisimilitude to the action, it also imbues the characters with said exigence. What it cant do however is to provide them with a life beyond the frame. Unlike Heat, where even the bit players were memorable, Miami Vice features a few too many individuals who lack the proper depth and scope. And thats partially because Mann once again attempts to set a foot outside the genre parameters, not quite recognizing that he must draw his characters within them in order to elevate them; his tangential forays into \"reality\" have a tendency to feel a tad self-conscious. (The bullets in the films eventual, rather low-key shoot-out might sound real, but the much-hyped pre-production research into the lives of undercover men that Mann conducted ultimately plays second fiddle to, what else, his images.) Hopefully hell find a common ground one day, but perhaps for now, as Cyril Neyrat of \"Cahiers du cinma\" stated, \"[Miami Vice] belongs to those that would require two viewings. The first, to make a list of its disappointed expectations and weaknesses, and the second, to attend to what it does do: exploit the aesthetic possibilities of high definition and to draw all the consequences for the narrative. Then the weaknesses are changed into hypotheses, undoubtedly fragile but unfailingly innovative, of a new regime of the visible, generating a new kind of action film.\"\r\n\r\nGrade: B\r\n_______________________\r\n\r\n*The film will be available on DVD in early December.','0b6c7ae8f66a55a569946c8aa3562e12',0,'','T1rfzd8N',1,0,'',0,0,0),(11593,2079,3,1,0,'69.120.114.47',1160071740,1,0,1,1,1,1,'A','Re: Short Takes','Heh, just posted my negative comments on last film seen. Interesting that we saw this at a similar time. \r\n\r\nI mostly agree with your assesment, and definitely with the statement from the Cahiers critic, but ultimately this didn`t make it as satisfying an experience as it probably did for you.\r\n\r\nit`s not like Mann has lost it, but he clearly needs to get better next time. And reality can also be subtle at times!\r\nI must say the slick cinematography and editing in Heat had much more to say about our world than the \"realist\" one in Miami Vice...\r\n\r\nOn your scale, this would be a C+','bb976dad55bf186e4402e6bea4666afe',0,'','nT2ZY61Q',1,0,'',0,0,0),(11594,2079,3,1,0,'69.120.114.47',1160364660,1,0,1,1,1,1,'arsaib4','Re: Short Takes','For some reason I didn\'t follow Miami Vice\'s initial release as closely as I wanted to, and then it sort of disappeared from my mind. But when I came across an Olivier Assayas interview in which he mentioned that he really liked the film despite some unevenness, I made a beeline to the nearest theatre in which it was still playing (one about 45 kilometers away). And I\'m certainly glad that I did, especially for Mann\'s HD work. Though, like I stated in my post, I agree that it can\'t substitute for a stronger narrative base.\r\n\r\nI\'m not sure if you\'ve seen Assayas\' demonlover, but the characters in that film are also quite \"rootless,\" and they\'ve more or less become slaves to their demonic professions. So I can see why Assayas would appreciate Vice, though his film is certainly a much superior work because it digs deeper and comments on the state of our society at large.','4f5dcc665d20391a0ef93e22280dcffa',0,'','fESR75MN',1,0,'',0,0,0),(11595,2079,3,1,0,'69.120.114.47',1160512260,1,0,1,1,1,1,'A','Re: Short Takes','I own Demonlover on DVD, but when I wanted to watch it last year, I noticed that it has only a german language track. \r\nThat\'s why I got it so cheap, alongside Chereau\'s magnificent Son frere. Will have to seel both, and by better editions in the future.\r\n\r\nI tried watching Mann\'s Collateral yesterday, but I was too stoned. I own the 2-disc special edition, and will watch it another time, but somehow I expected the cinematography to be better (after watching Miami Vice, that is).\r\nThe problem with the characters in Miami Vice for me was that Mann didn\'t give them enough depth (certainly not for an engaging love Story). So I wish he would have focused more on the operations, as this seemed to be his primary interest. (I#ve also read an interesting interview with him on that topic).','e555ea548ed2f0a47ae0f71b733b541a',0,'','THdCAZGX',1,0,'',0,0,0),(11596,2079,3,1,0,'69.120.114.47',1162384980,1,0,1,1,1,1,'arsaib4','Re: Short Takes','THE DEVIL\'S MINER (U.S. / 2005)\r\n\r\n___________________\r\n*A 2006 U.S. Release* \r\n\r\n\r\nThe Andean city of Potos, Bolivia, which sits at an altitude of nearly 4000 meters, is said to be the highest city in the world. It was where Basilio Vargas, the 14-year-old protagonist of Kief Davidson and Richard Ladkani\'s poignant documentary The Devils Miner, used to reside with his family until his father passed away. Now, along with his mother and two younger siblings, Basilio lives in a makeshift hut adjacent to the neighboring Cerro Rico (\"Rich Mountain\"). The reason being that him and his 12-year-old brother work as miners in one of the nearly depleted silver mines of Cerro Rico, which date back to the 16th century when the Spanish enslaved and exploited the local Indians for labor. While the Spanish might be gone, the conditions havent improved much as Basilio, the familys new breadwinner, logs long hours in the hellish, subterranean mines where 800 other children are also forced to work for one reason or another. \r\n\r\nThe filmmakers deftly follow the young man as he accounts his daily work routine, after which he does look forward to going home and watching television with his family (as long as the batteries dont run out). Basilio is smart enough to recognize the inherent risks of working in the mines (the respiratory disease of silicosis causes many to die in their 30s and 40s), but he needs to work until he finishes school and is able to find another profession. Until then, him and others (all ardent Catholics) pray to the devil figures, which were introduced by the Spanish inside the mines to scare the workers, to keep them alive. Remarkably shot on video, The Devils Miner is neither heavy-handed nor polemical; it simply documents a hitherto unknown life with all of its joys and sorrows. It is disappointing however that the filmmakers choose not to contextualize their effort within a proper political framework, though that shouldnt deter anyone from excavating on their own.\r\n\r\nGrade: B\r\n_______________________\r\n\r\n*THE DEVIL\'S MINER premiered at the 2005 Rotterdam Film Festival. Since then, it has traveled to numerous other festivals, winning a plethora of awards along the way.\r\n\r\n*Now available on DVD in the U.S. (First Run) (Extra features include a short film which revisits the lad one year later; links to online resources for further info, etc.)','04dc7cb512f3eee4fe7291c8738f49ba',0,'','GErkoBbp',1,0,'',0,0,0),(11597,2079,3,1,0,'69.120.114.47',1165834860,1,0,1,1,1,1,'arsaib4','Re: Short Takes','[An old post]\r\n\r\nBAD NEWS BEARS (U.S. / 2005)\r\n\r\nRichard Linklaters recent \"one film for me, one film for them\" trend continues with Bad News Bears, and its quite obvious on which side of the ledger it lies. (Up next from Linklater is his independently produced animated opus, A Scanner Darkly, which is scheduled for a release early next year.) A remake of a 1976 film titled The Bad News Bears -- a film I havent seen but its said to be most popular for its subversive attitude towards \"win-at-all-costs\" mentality that pervades our culture in general and sports in particular -- the new \"Bears\" stars Billy Bob Thornton as a former ballplayer/current rodent exterminator who accepts an offer to coach a little league baseball team. A perpetual drunk, Thorntons coach Buttermaker ends up inheriting a bunch of misfits, including many whove been rejected by other teams, thus giving him even more reasons to not care. But once his team is embarrassed and he gets challenged by another coach (Greg Kinnear), Buttermaker starts to whip the lazy bastards into shape. Meanwhile, he acquires the services of an athletic young girl (Sammi Kane Kraft) to pitch (after witnessing her fast ball a young boy claims that hes just reached puberty). While Bad News Bears is mostly conventional with many of the requisite sports movie clichs, Linklater does throw a \"curve-ball\" or two along the way to keep things fresh (people whove seen the original might disagree). Whats quite amusing, however, is listening to these kids. The film pushes its PG-13 boundaries a couple of times even though its mostly in good taste, but there are parents out there wholl be shaking their heads while their kids snicker. Kinnear and Marcia Gay Harden are more or less wasted in supporting roles. But Thornton, who did something similar in his popular Bad Santa (2003), is fine and so are the kids who do as well here as the ones from Linklaters much better The School of Rock (2003).\r\n\r\n________________________\r\n\r\n*Available in the U.S. on DVD (Paramount).','ec4a05afd7584303f257bc024efd13e3',0,'','dH0lZDUW',1,0,'',0,0,0),(11598,2079,3,1,0,'69.120.114.47',1168522620,1,0,1,1,1,1,'arsaib4','Re: Short Takes','ROMNTICO (U.S. / 2005)\r\n\r\n___________________\r\n*A 2006 U.S. Release* \r\n\r\n\r\n\r\nShot over a three-year period, Romntico is a profoundly moving and thoroughly humanistic documentary portrait of mariachi musician Carmelo Muiz Snchez. Directed by newcomer Mark Becker, it initially presents the stocky 57-year-old man, an \"illegal\" immigrant from Mexico, working in San Franciscos Mission District with his long-time friend and musical partner Arturo Arias. They dont make much: about $50 each per night. Carmelo sends most of what he earns to his family back in Salvatierra, a small Guanajuato municipality about a thousand miles south of the U.S. border. While Carmelo misses his family members, hes proud of the fact that he has done his best to support them, which was the reason why he risked his life to migrate three years ago. But upon learning that his diabetes-ridden mother is practically on her deathbed, he decides to go back home.\r\n\r\nBecker has stated that he was influenced by such landmark documentaries as Pennebaker\'s Dont Look Back (1967) and Maysles Brothers\' Salesman (1969). And thats part of the reason why he shot Romntico on film (Super 16-mm), a unique choice for docs nowadays. But any poetry hes been able to infuse the work with is only meant to enrich and deepen the drama of life -- the life which introduces new challenges to Carmelo once he is back in his financially-challenged town. Neither detached nor sentimental, Beckers approach cogently captures the spirit and determination of his protagonist; there isnt a moment here which calls out for attention. Romntico could have navigated further, perhaps to go full circle if the opportunity allowed itself, though it gains its power and resonance not only from the struggles that are shown, but also from the ones that arent.\r\n\r\nGrade: A-\r\n___________________\r\n\r\n*The film premiered at the 2005 Sundance Film Festival. It will be released on DVD by Kino International.','53fc3cd8b414c855d02949b18a3bd05f',0,'','Ae72DEf0',1,0,'',0,0,0),(11599,2079,3,1,0,'69.120.114.47',1173952800,1,0,1,1,1,1,'arsaib4','Re: Short Takes','THE GOOD SHEPHERD (U.S. / 2006)\r\n\r\n\r\n\r\nOne of the most undervalued American films of 2006, The Good Shepherd is a somber, meditative work which refracts the enigmatic internal politics of the Cold War CIA through the individual account of one of its primary operatives. A composite of actual -- and controversial -- agency officials, Edward Wilson (Matt Damon) serves as our stoic, emotionally reserved protagonist. Like a few of his key counterparts, Wilson is initially seen mulling over the disastrous Bay of Pigs invasion in April of 1961. He suspects a mole, a belief which gains some ground when a photograph and a scrambled audio reel come under his possession. The film then periodically flashbacks to major turning points in Wilsons life -- fathers death, initiation into Yales clandestine Skull and Bones, a haphazard marriage, the OSS (not mentioned by name) and then the CIA -- before exhibiting their compound effect on his personal and professional state. \r\n\r\nWorking from an ambitious and intelligent script by Eric Roth (Munich [2005]), director Robert De Niro (A Bronx Tale [1993]) ably demonstrates a keen sense of the indeterminate milieu and the residual repercussions on the emotional health of its beings. His commitment to the self-righteous Wilson, a character nearly unthinkable in American cinema today, is also noteworthy. In arguably his best performance till date, Damon is as precise and economical as the rest of the mise-en-scne (the film is shot by Oliver Stone-regular Robert Richardson), and hes well-supported by the likes of William Hurt (fellow operative), John Turturro (assistant), Angelina Jolie (wife), Michael Gambon (professor and spy), and De Niro himself, whose General Bill Sullivan is based on \"Wild Bill\" Donovan, the founder of the OSS. The Good Shepherd isnt perfect, but unlike more celebrated 2006 films as Blood Diamond and The Last King of Scotland, its motivations are pure and its politics uncompromising. The film treats its audience with dignity and class, and it deserves the same in return.\r\n\r\nGrade: B+\r\n______________________\r\n\r\n*THE GOOD SHEPHERD had its international premiere at the 2007 Berlin Film Festival (in-competition). A Silver Bear for \"Outstanding Artistic Contribution\" was awarded to the ensemble cast.\r\n\r\n*The film will become available on DVD on April 3rd (Universal).','eef4cb590a8f1772d4ef9c81b54a6d83',0,'','Nwc7QJg0',1,0,'',0,0,0),(11600,2080,3,1,0,'69.120.114.47',1167906180,1,0,1,1,1,1,'bamboomedia1','Babel (2005) (US/Mexico)','This is supposed to be the last installment of Irritus trilogy dealing with the themes of parents, children, disconnectedness and miscommunication. I didnt like this film as much as I wanted to although I will admit that it did have its moments. The acting was great from everyone and some of the imagery and color schemes were beautiful. I think the biggest problem was with the development of story and plot. I think this happens because this director deals mostly with themes first and story and characters second. The film seemed to drag on in some spots and I think the director couldve been a bit more succinct in the points he was trying to get across. Irritu shines when he sets forth harsh reality unapologetically instead of bonking us over the head with long drawn out scenes with an overdramatic score trying to pull at our heartstrings. I really respect the subject matter this movie is addressing I just wish it would have been handled in a more fleshed out cohesive way. \r\n\r\nOn a side note...I knew this would be the weakest of the three movies (of 2006) that the three amigos (Irritu, Cuarn and del Torro) directed. I am going to see Children of Men this weekend and Pan\'s when it is released here. I can\'t wait. To say that I\'ve been waiting all year is an understatement at this point.','06fe10fcca596e5a15f97fd66f533f32',0,'','cYBxmgFR',1,0,'',0,0,0),(11601,2080,3,1,0,'69.120.114.47',1169297760,1,0,1,1,1,1,'hengcs','Re: Babel (2005) (US/Mexico)','Director: Alejandro Gonzlez Irritu\r\nCast:\r\n\r\nMy thoughts ...\r\n\r\n-- i thought it began well, but the \"editing\" (i.e., jump from scenes to scenes) actually offset the pacing rather than keep you thrilled/puzzled about what is gonna happen on the other story ...\r\n\r\n-- nonetheless, i thought a lot of issues/scenarios were so GENUINE/realistic that you will be able to associate with some incidents/hearsay/news that you have come across ... in particular ... some of the scenes that i like ...\r\n\r\n(i) the maid and kids incident ... so sad ... so difficult to be judgmental ... but so real ...\r\n\r\n(ii) the immigration checkpoint scene ...\r\n\r\n(iii) the Japanese girl ...\r\n\r\n(iv) the stereotypes of various ethnicity/place/etc ...\r\n\r\nWhat could be better?\r\n\r\n(i) the editing/pacing?\r\n\r\n(ii) i thought one scene in particular could be improved (i.e., the one whereby the busload of people wanted to leave ... as of now, it is a pretty one sided kind of story ... most audience may hate/blame them for being selfish and being too steretypical/phobic of the rural area) ...\r\n\r\ni thought a better improvement would be letting audience wonder whether Brad is just as selfish (if the director allows another passenger to really suffer from hit stroke ...) ... in that case, the audience are made to wonder more abt what is right/wrong, or what to do becos there is no easy right/wrong ...\r\n\r\nConclusion: \r\nRecommended ... laudable mainly for its great universal message about communication/listening/empathy/etc ... and definitely its international effort, with a great cast, in diff location and different languages (not an easy feat indeed) ... for that ... * CLAP * ... \r\n\r\nnow the tough question ... is it really the Best Film of 2005?! hmmm ... i think Crash from last year may be more engaging ... \r\n\r\nBUT i am NOT against Babel getting the Best Film award cos I think HFPA wanted to spread the univeral message of understanding and communication ... hopefully, the world will get to watch it and be a better place ... \r\n\r\nThe Departed (however) is more tight in terms of story telling ... nonetheless, it may not have as powerful a message as Babel ...','4b983615ea3363bf1b1dc5f8e4736a9a',0,'','4EpCUh5x',1,0,'',0,0,0),(11602,2080,3,1,0,'69.120.114.47',1169321880,1,0,1,1,1,1,'hengcs','Re: Babel (2005) (US/Mexico)','wow ...\r\ni was reading this thread ... \"who had sympathy for the maid\"\r\n\r\nwww.imdb.com/title/tt0449...t/58386750\r\n\r\nfrom this thread, u can tell how diverse the world is ... \r\nand how diff culture/individuals/opinions can be ...\r\nwhich is exactly what the film is trying to relate','34eddffb5481b91b1227433addb09841',0,'','7kPst2uQ',1,0,'',0,0,0),(11603,2080,3,1,0,'69.120.114.47',1173854580,1,0,1,1,1,1,'wpqx','Re: Babel (2005) (US/Mexico)','Well with this film I\'ve now seen every best picture nominee since 1970. Not to say that was the reason I saw the film, I would have seen it regardless, and certainly based on Innaritu\'s last couple of efforts. I think the film was reaching too high. I didn\'t connect with these characters the way I did with the unhappy trio in 21 Grams or Amores Perros. The Japanese Story seemed out of place, and although in and of itself it may have made a decent film, the connection was weak and it seemed to seriously bog down the story. The fragmented narrative is something I\'ve come to expect and easily understand by now. Here however I feel like the film might have been more fragmented, and out of chronological order the way 21 Grams was. Like that previous film, this picture has a very splendidly designed sound concept that seems to have been lost on most people. The score was first rate throughout and the acting was good all around. Its comparisons to Crash are unjustified for both films, and I think both Pan\'s Labyrinth and more specifically Children of Men could have better served Mexican filmmakers with a best picture nomination.\r\n\r\nLong story short, of the nominees, The Departed was the best film.','0f6d1fb58c020be39d4b801ff01be878',0,'','rV3DlU2f',1,0,'',0,0,0),(11604,2080,3,1,0,'69.120.114.47',1173866700,1,0,1,1,1,1,'arsaib4','Re: Babel (2005) (US/Mexico)','I\'m glad you brought up the sound design because not many have; as I\'ve said elsewhere, I was also quite impressed by it. On the other hand, many have mentioned that one story or another doesn\'t quite fit the overall mold. I think Irritu, who\'s already been chastised for connecting a few too many dots, would\'ve overplayed his hand if the Japanese segment had too strong a tie with the rest. It seemed formulated the way it was by design. But the seemingly minor act of the Japanese businessman does carry overt political implications.','735b1850b9fd69edfbf65b52f34da5cd',0,'','quBMnVC6',1,0,'',0,0,0),(11605,2081,3,1,0,'69.120.114.47',1173503220,1,0,1,1,1,1,'arsaib4','Jem Cohen\'s Chain (U.S.-Ger / 2004)','\r\n\r\n***possible spoilers*** \r\n\r\nDirected by Kabul-born, New York City-based multimedia artist Jem Cohen, Chain offers an intriguing concoction of documentary, fiction and avant-garde. (The 45-year-old filmmaker has adamantly stated, however, that the work itself isn\'t \"experimental,\" and rightfully so.) Partly dedicated to master essayist Chris Marker, whose La Jetée (1962) and Sans soleil (1983) certainly appear to have been a formal influence, Chain is primarily a composite of stationary shots which depict the numbing parallel effects of \"globalization\" on our physical (and emotional) landscape. The ever-proliferating chain stores, malls, hotels and other such places, the towering buildings and their vast concrete parking-lots, the arterial network of highways -- all shaped by our corporate and cultural imperialist desires to build and destroy and then build again, simply because we can. \r\n\r\n\"I was trying to get a grip on the nature of globalization, which is such a hazy, amorphous term,\" Cohen has said. \"The film is not about America, but there\'s no question that we\'re largely responsible for how a lot of the planet ends up looking. So much of the world becomes a mirror of American business and culture and iconography.\" While attentive, knowledgeable and well-traveled viewers will gather so beforehand, the filmmaker reveals at the end that this work was shot across nearly a dozen states in the U.S., along with various cities in Canada, Germany, France, Poland, and Australia. Which means that the footage from a number of locations around the globe contributed to what is presented to us at a given moment as a singular locale, and the transition is practically seamless. (Surreal, isnt it?) And, to Cohen\'s credit, this repetition is rendered in a wholly affectless manner, which is perhaps the reason why its so affecting. \r\n\r\nChain was assembled over a ten-year period on 16mm (which is also the format Cohen employed in his 2002 three-projector triptych installation called Chain Times Three). Initially, the filmmaker\'s focus was only on the topography, but later on he decided to include a human element which demanded a fictional narrative of some form. (Cohen: \"After I had been filming for a while, I became interested in how people navigate these spaces, who they might be, and what they might be thinking.\") After wrestling with this concept for a short period, he developed two characters: one of a plain Japanese businesswoman who is visiting the states to research amusement parks for her corporation, and the other of a teenage runaway making a living in abandoned or incomplete structures. The nearly robotic voice-over narration from both of them propels the montage of stills. \r\n\r\nPlayed by Miho Nikaido (Tokyo Decadence [1992], Hal Hartley films), Tamiko is the single, 31-year-old mid-level executive who at the beginning of her journey is somewhat excited about the project, but as time passes, communication from her superiors starts to dissipate, leaving her adrift in endless succession of hotel rooms and board meetings. While Amanda (Mira Billotte, from indie rock band White Magic), the debt-ridden teen, never crosses paths with Tamiko herself, it\'s assumed that many other lost souls just like her do. That\'s because Amanda eventually lands an undocumented dead-end job in a motel, cleaning rooms and such. But in most cases, if she isn\'t seen in one shopping mall or another, trying to act like she belongs there (she holds an imaginary conversation from a broken cell-phone to fool any suspecting security guards), then she\'s found taping herself from a video-camera she discovered along the way. (The character of Amanda and her featureless milieu brought to mind films like Time Out [2001] and Keane [2004].) \r\n\r\nIn a positive sense, Cohen\'s rigorous formal approach also helped him formulate his characters. Someone like Amanda couldv\'e easily been portrayed with emotional bearings, but he doesn\'t allow her (or Tamiko, for that matter) to overwhelm his underlying motifs. But at the same time, these two women feel like \"real\" individuals one could across at any time, anywhere, even though they happen to reside at two ends of a \"globalization chain\" which has more or less set them aside as generic waste. Now they simply have to come in terms with their environment, and find a way to fit in. And as much of a tragic tone Cohens well-composed impersonal shots of empty spaces encapsulate, they also try to make sense of their surroundings, thus generating a work which is conscientious without being labored. \r\n\r\nBefore this project, Cohen was mostly known for his two feature-length music documentary portraits: Instrument (1999) and Benjamin Smoke (2000). (The former was another long-in-the-making effort on hardcore punk band Fugazi, and the later dealt with the troubled frontman of Geogia-based Smoke.) Cohen has also worked on and for the likes of R.E.M, Elliot Smith, Blonde Redhead, and Godspeed You! Black Emperor (the alternative Montreal-based band which provided the sound for Chain\'s bracing opening sequence.) Unlike many other so called \"independent filmmakers,\" Cohen is a true independent artist whose vision is as uncompromising as his goals. Like Vincent Gallo and Kelly Reichardt, Andrew Bujalski and Ira Sachs, and many others like them, he deserves to be honored and cherished for who he is. \r\n\r\n______________________ \r\n\r\n*CHAIN has been screened in the U.S. but it remains without a local distributor. \r\n_____________________','fd7cfb3602557269c74e263bc721364d',0,'','5ePA7Dp6',1,0,'',0,0,0),(11606,2081,3,1,0,'69.120.114.47',1202224200,1,0,1,1,1,1,'A','Re: Jem Cohen\'s Chain (U.S.-Ger / 2004)','Great review! \r\nI need to see this. Do you know if a DVD has been issued? \r\n\r\nThat reminds me that I need to see more American indies. I was just thinking about my interesting encounter with Edward A. Radtke\'s The Dream Catcher (1999) a few years ago. Too bad I got rid of the subtitled VHS I had. Do you know the film, arsaib?','7fc46e255ce04a4b63b9d8474e3fd9e1',0,'','Jq4ExPyY',1,0,'',0,0,0),(11607,2081,3,1,0,'69.120.114.47',1202367780,1,0,1,1,1,1,'arsaib4','Re: Jem Cohen\'s Chain (U.S.-Ger / 2004)','Thanks very much, A. It\'s always nice to receive some encouragement. \r\n\r\nNope, no DVD at this point. But I\'ll keep you up-to-date. \r\n\r\nIf I remember correctly, The Dream Catcher was once mentioned by Ebert on his show, but that was probably before it ever came out on home-video. I\'ll definitely check it out. True American independent films don\'t get much exposure here; far too many are satisfied with \"pseudo-indies,\" often featuring big stars attempting to reestablish their indie cred.','1b7fadbc868460f447afb463d8f369ab',0,'','ue8ck403',1,0,'',0,0,0),(11608,2082,3,1,0,'69.120.114.47',1172939040,1,0,1,1,1,1,'justindeimen','Factory Girl (2006)','Review: \r\n\r\nGeorge Hickenloopers cursory biopic on the original 60s superstar and Warhol (Guy Pearce) confidante, Edie Sedgwick (Sienna Miller) begins by traversing the pitfalls of fame, and then falls into a grimy ditch, which it never really seems capable enough to crawl out from. You can almost sense that Hickenlooper finds himself way over his head as it trudges along Edies long, hard road to tenuous immortality, as muse and discard of Andy Warhol. The film feels much too didactic, much against the flow of its subjects essence. Factory Girl starts off by using a generic structural device of flashbacks to prop the story against a self-elucidating narration that appears to be the basis to the films abrupt conclusion, not that different from Edies own end. \r\n\r\nEdie decided early on to circumvent her prestigious background by seeking the fringe elements, as they were, in New York where she met Warhol who was soon enchanted by the ingnue and her background. The film argues that this association with Warhol and his cadre of sycophants led Edie to her eventual fall from grace. Examining Edies relationship with Warhol exposes the lack of psychological perspectives that should have actually taken centre stage amidst the proceedings in the Factory, the loft where Warhol work with a menagerie of characters, wherein Edies seduction began. The rampant, and casual drug use is clearly an important part of her tragic trajectory, as is her trusting disposition to those around her caused by her need to be accepted by her own societys unacceptable. The film approaches this downfall with an antiseptic clarity that just feels entirely superficial (like the costume party detail that went into the set design), especially when the narrative inherently offers up hints at the turmoil and confusion that has littered Edies decisions at every crossroad. \r\n\r\nThe angry disdain shown towards the two most well known men in Edies life, Warhol and the Bob Dylan archetype is almost construed as villainous, which makes it all the more intriguing. Warhol, played with mechanical precision by Pearce, feeds on Edies life force and bank accounts by offering her the accursed 15 minutes of fame. Hes also illustrated as a selfish man, who uses her for companionship instead of the friendship that Edie perceives it as. The relationship takes a sour turn when Edie finds herself in the arms of Billy Quinn (Hayden Christensen), the rocker who seems more interested in sidetracking her from Warhols influences. That would be chivalrous if it wasnt already shown that hes more interested in sticking it to all that Warhol represents than actually helping the poor little rich girl. \r\n\r\nAlthough its never really kind to the serpentine Warhol or the hypocritical Bob Dylan-esque musician, it also ends up patronising Edie by crafting a sense of mock sympathy towards her struggles. She merely becomes a human canvas for misery and foolishness. There\'s nothing redeeming about watching Edie drugged, raped and rejected at every turn even if there was a tentative thematic purpose for such a distressingly dour view of humanity\'s flaws. She ultimately ends up becoming a template for the follies of youth, drugs and the obsession for celebrity instead of the individual that she so desperately sought to be. Such are the ordeals, that it is all the more laudable that the engaging and beautiful Miller gives her all in her performance. Its just a shame that the entire film ends up being perfunctory and shallow by chewing her up and spitting her out as it did Edie.','99c3120cac28e3a0f5d3369e0ab68ab0',0,'','xrqG0Sc8',1,0,'',0,0,0),(11609,2083,3,1,0,'69.120.114.47',1160025300,1,0,1,1,1,1,'hengcs','The Departed (2006)','when i first heard of the remake,\r\ni know i am going to watch the film regardless of its quality ...\r\n\r\nbut as of now, i think i will DEFINITELY watch it ...\r\n\r\n\"the mass\" seems to like it\r\nwww.imdb.com/title/tt0407...ercomments\r\n\r\n\"the critics\" seems to like it too ...\r\nwww.rottentomatoes.com/m/departed/','07c0beb72d8ff78e15e6862a7f62d26d',0,'','ijf5mvWV',1,0,'',0,0,0),(11610,2083,3,1,0,'69.120.114.47',1160398800,1,0,1,1,1,1,'smurfrevolt','Re: The Departed (2006)','Quite enjoyable, except for that happy ending. How Scorsese. hehe.','e2bbc8fb4932df1f8ff80da631213c7e',0,'','cfCHTLhb',1,0,'',0,0,0),(11611,2083,3,1,0,'69.120.114.47',1160513340,1,0,1,1,1,1,'justindeimen','Re: The Departed (2006)','Review courtesy of MovieXclusive.com\r\n\r\nAs darkly comedic and resonant as Goodfellas (if they had mobiles and wireless Internet) and as virile and gritty as Mean Streets, Scorcese scores a winner by all regards in The Departed. And yet the closest description for a story of this magnitude that spans across the generations and multiple complex characters would be L.A. Confidential. Rarely does a film work on every level that it aspires to and theres really not much to say that contradicts it. Its a potboiler crime fiction of epic proportions with every strand of intersecting plot brimming with rising conflict.\r\n\r\nThe coarse dialogue, contextual environments and masculine anti-heroes are straight out of Scorceses playbook, transposed from mobs to cops. The frissons of being mucked in such a ravenous war zone of conflicting ideals is slowly transformed into a deeper sense of apprehension when it becomes an operatic thriller that closes in on the deception and betrayal between the men caught on the frontlines.\r\n\r\nLet me just begin by assuaging fears of a slavish copy of the original as Scorcese, who is arguable the master of the modern gangster genre (including the inspiration for Hong Kongs wave of gangster films) makes this revision very much his own and all but seals his accolades come award season. The premise and plot structure remain true, but key sequences have been given a new treatment and there are different assertions and idiosyncrasies in the characters which are created by their respective actors.\r\n\r\nIts a welcome difference in the locale from Hong Kong to Boston. It allows for more elaborate setpieces with clever use of racial prejudices and homophobia in the language that adds another dimension to the politics involved. And of course a much more vibrant Boston landscape in the films brooding atmosphere that plays a bigger part in the films scope with its flagrant bending of time and space. And as usual, one actor stands out playing his role the way audiences have always recognised him. He brings a crucial, unrestrained element to his larger-than-life character that one might suspect is unseen in the script.\r\n\r\nNicholsons Costello is an expanded takeoff from Eric Tsangs supremely underdeveloped but scene-stealing role as the mob boss Sam in Infernal Affairs, just one of Scorceses prerogatives that was undertaken with the glut of talented performers he was presented with. Nicholson forces himself into the foreground with yet another of his quintessential performances that borders somewhere between paranoia, rage and aloofness. But Scorcese burdens the films strongest scenes by placing Nicholson in the centre stage, letting him pull the emotional strings with nervy self-reliance by sheer presence alone. Of course, this can be a masterstroke at times, but an overdose of Jack can betray a scenes natural gravitas.\r\n\r\nAnd its made clear very early on that this is not a man to be trifled with, no matter how captivating Frank Costello is. We must not like him, even if we must resist the temptation to. In an opening monologue that draws us in closer than a thousand scenes ever could, Costello reveals himself as a growling psychopath thats only certain of one thing himself. Effort is taken to magnify the man. Almost as if recounting the exploits of Kaiser Soze with its fair of tight crosscutting, immersive edits that squeeze out backstory and narration of a merciless killer.\r\n\r\nThe cat-and-mouse dynamics between Damon and DiCaprios characters are the anchor of the latter half of the film. It reaches breaking point when the walls close down and they have to handle the responsibility of decisions alone and the unrelenting paranoia under deadly scrutiny. A common respect is grounded between the 2 moles, and Scorcese wisely cuts between the snippets of their lives during the good times and the bad times to show the impact of sacrifice within those men. Theres also not so much of the ellipsis that the original had in its narrative, which really fills in big gaps and rounds off each of the players involved. The high doses of tension and great pacing carries the momentum of each revelation further through the story, as the stakes get higher and higher. The urgency and fearlessness of the camera swerving in and out of confrontations and intimate close-ups of low-key moments create moments of significance out of nothing.\r\n\r\nScorcese works indelibly well with an observant DiCaprio, who once again brings pathos to a character that had stylistic sheen overpower its emotional whiplashes in the original. As much in Nicholsons shadow as Damon is within his, theres a hierarchy of powerful performers present that in any other film would have been overkill. But in new scribe William Monahans script, each character is fleshed out and most importantly, each of them has a clear voice. There are hints about the battles of moral complexities being fought by the characters. Their actions carry weight further into the film. Theres resistance to the actions that need to be done and guilt over those that have been done. They are established clear roles early on and its compelling to see how these roles are switched around until the final crescendo of madness ceases. Unapologetically indulgent, its a masterful effort by Scorcese after 11 years of absence in his strongest genre.\r\n\r\n4/5','83a34c078744167c45198f735c934d9e',0,'','JQdeq7KM',1,0,'',0,0,0),(11612,2083,3,1,0,'69.120.114.47',1160989320,1,0,1,1,1,1,'hengcs','Re: The Departed (2006)','ok, i have finally caught it ...\r\n\r\nthere are some things that i like abt this new film, \r\nbut there are also some things that have been lost from the original ... \r\n(give me some time, and i will try to mention them) ...\r\n\r\napparently, our old review has been wiped out last year,\r\nand i did not have the time to write the complete review again (explaining why it was so good) ...','e6cb4ed070e5fc4ea8b69987c385cd0f',0,'','BTCMc3WL',1,0,'',0,0,0),(11613,2083,3,1,0,'69.120.114.47',1161585060,1,0,1,1,1,1,'hengcs','Re: The Departed (2006)','Hi to all,\r\n\r\nI guess many reviews would have done a great job highlighting what is so good about The Departed or so good about the Infernal Affairs ... so let me do the remaining by comparing the two ... as there are many aspects, I shall highlight only the \"essence\" that was lost (if any) ...\r\n\r\nIn order for me to elaborate what I like about The Departed or Infernal Affairs, I guess I need to highlight some spoilers ... oh no ... but if you have already watched either, I guess it is ok ... ha ha ha\r\n\r\n* major spoilers *\r\n\r\nWhat is better in The Departed ...\r\n\r\n(i) well well well, the film does look more \"real\" in terms of its grittiness, violence, language, costume and entire depiction of the \"culture\" ... *applause * ... thanks to the great ensemble of cast ... \r\n\r\n(ii) the scene whereby the \"nitwit\" realizes who is the undercover (becos he gave the wrong address, but leonardo appeared correctly) ... wow, for a moment you wonder whether Leonardo is gonna kill him ...\r\n\r\n(iii) by combining the two gals into one, it has its pros (cons to be discussed later) ... in a way, she signifies the common idealism that seeks to illuminate the path of the two male protagonists ... as they try their best to be a better person ...\r\n\r\nWhat \"essence\" gets lost in The Departed ... implying Infernal Affairs had it, but The Departed lost it ...\r\n\r\n(i) It is NOT just about a different ending, but the ESSENCE (purpose) of the original ending ... to a critical mind, I would say that the original ending should be considered much better\r\ni.e., with the villain being alive ... \r\n\r\nthe film then challenges all of us: \r\n-- Does the world have a benevolent and forgiving heart? Are we willing to pardon a villain if he decides to turn over a new leaf? Do we even believe they will change?\r\n-- In life, do we always have a second chance?\r\n-- In reality, does the good always \"live\" and the bad always die? and if not, how should we live?\r\netc\r\n\r\nPS: In Infernall Affairs, I also think there was \"more desire\" to be good on Andy Lau\'s side, such that in order to start becoming good, he has to erase his past, thereby committing more bad ... but if he does not, can he even be accepted into the world of good guys? ... In The Departed, I think there was less evidence of Matt trying to be good ...\r\n\r\n(ii) I think Leonardo deserves it ... and he may just garner the Best Actor award ... wow ... but Leonardo and Tony Leong opted for a VERY different portrayal ... In Infernal Affairs, Tony speculated that if you have to be an undercover for so many years (8 years, 10 years, etc) ... you have to try to \"live\" \"normally\" by seeking \"happiness/smiles\" etc even during your undercover days ... you cannot keep showing a painful face ... hence, friendship is built, romance is established, life goes on, etc ... unlike most depiction of undercover, it should not be just about pain and agony and struggle ... that was why in Infernal Affairs, there are times whereby Tony was at peace with himself ... but in The Departed, Leonardo opted for the constantly divided/agonized undercover ...\r\n\r\n(iii) The bond between the nitwit and the undercover cop is gone ... such that when the nitwit died, the audience felt less ... in the Infernal Affairs, I think the audience felt more ... but it is more than a subplot/minor character ... it is about whether friendships are established, it is about trust even amidst distrust, it is about struggle when you finally have to abandon them (when you reveal your identity, etc) ... life becomes more gray than good vs bad ... \r\n\r\n(iv) By combining the two gals into one, i have to say that after watching The Departed, I was more compelled to understanding why Matt and her is a couple, I am less convinced why Leonardo and her is a couple ...\r\n\r\n(v) The brilliance of the \"morse code\" was totally gone ... ;(\r\n\r\n* end of spoilers\r\n\r\nAfter lots of contemplation, I finally conclude (in my very humble opinion) that The Departed was only better in terms of its violence and depiction ... But for the Infernal Affairs, it is definitely more philosophical and thought provoking ... wow ...\r\n\r\n* applause to both films *','89490b95d0b5b688b16f68d866dee5ff',0,'','iPmRpFbh',1,0,'',0,0,0),(11614,2083,3,1,0,'69.120.114.47',1161602940,1,0,1,1,1,1,'hengcs','Re: The Departed (2006)','to those who have watched, what do you think?\r\nor is it another \"cultural difference\"?!\r\nha ha ha','286a9ee23e68d15fa47cca1cdf103409',0,'','xLSBfkW1',1,0,'',0,0,0),(11615,2083,3,1,0,'69.120.114.47',1162796820,1,0,1,1,1,1,'wpqx','Re: The Departed (2006)','Well it took me far too long to see this movie than I had initially anticipated, but well there has been too much real life drama going on to explain it. I have not seen Internal Affairs, and therefore have no opinion on which is better/worse. I have however seen everything Scorsese has put on celluloid (at least all his fiction films), and well the overwhelming response from most people is that Scorsese is back and in rare form. I however would argue that he\'s never left. I immensly enjoyed his last three features, but there\'s something to be said about a director who returns to the genre he helped redefine. Likewise no matter how much you may like John Ford\'s Mogambo, Mr. Roberts, or the Quiet Man, there is no where near the same satisfaction you get when he comes back to his own in the Searchers. Scorsese is certainly drawing parallels to himself and Ford, if by nothing else the use of part of Max Steiner\'s score for Ford\'s The Informer.\r\n\r\nScorsese is back in the genre, but much different. The obvious omission is his cast. The almost entirely Italian mafia of his earlier pictures has been replaced by the Irish. It is ironic that a great deal of racial prejudice is shown here, particularly by the Irish towards the Italians. Leonardo DiCaprio is becoming something of the new DeNero and seems to be getting better with every appearance. As great as his work may have been in The Aviator, I might say he one ups himself here. However the film is so packed, that no one actor dominates the film. Everyone is strong in their moments, and for my money Mark Whalberg seems to make the most of his supporting part.\r\n\r\nRooting for anti-heroes is always something a little tricky. The rat has to die, but in this film there\'s a question of \"which rat.\" I found myself pulling for DiCaprio throughout the film, and grew more and more to despise Damon. Scorsese works well to develop this, as in his traditional world the mob would be the \"good guys\". Even Jack Nicholson who is nearly impossible not to like, makes us repelled by him. I actually wanted him to get caught, get turned in, get shown up. Again great work by director and actor to make me root against Jack. \r\n\r\nStylistically Scorsese keeps his usual visual flair, and makes us occasionally very aware of his craft. At times this can be distracting, as in Damon\'s phone conversation with his girlfriend in clear focus in the background. The shot is jarring, and recalls very directly some of the \"trick\" photography used in Kane. The blending of time is something also fairly common for Scorsese. Everything moves fast, and you are never even sure how long everything has been going on in this story. It is very indicative of the narrative style of Goodfellas and Casino. In all a first rate effort, and certainly a frontrunner as the best film of the year. I might add that I\'m genuinely happy that Scorsese has a bonafied box office hit on his hands.','310aa65606f7540941ad804f00d709b9',0,'','NXrB1idC',1,0,'',0,0,0),(11616,2083,3,1,0,'69.120.114.47',1162807380,1,0,1,1,1,1,'arsaib4','Re: The Departed (2006)','Does it reaches the heights of a Taxi Driver or a Raging Bull? I think I already know the answer but I\'m just askin\'.','2a859dc48e2f3070783e9e9dc6677e58',0,'','yajKviLx',1,0,'',0,0,0),(11617,2083,3,1,0,'69.120.114.47',1162864080,1,0,1,1,1,1,'wpqx','Re: The Departed (2006)','Certain moments yes, but I would probably elect Goodfellas as Scorsese\'s best film now, and this film is not up to that level. However its certainly among his best.','6be8b8a0eb5e5f21dca4cfc10507a616',0,'','nhRpjD7Q',1,0,'',0,0,0),(11618,2083,3,1,0,'69.120.114.47',1162877400,1,0,1,1,1,1,'arsaib4','Re: The Departed (2006)','At this point I have Goodfellas in Scorsese\'s \"second-tier\" group along with the likes of Casino and the underrated Bringing Out the Dead. But I must say that the more I watch Casino, the better it seems in comparision to Goodfellas, which turns me off at times with its constant barrage of off-color humor and fetishizing of criminal life (albeit unwitting).','7718543e933f386fcda4c5a80b414ca3',0,'','dchTE94U',1,0,'',0,0,0),(11619,2083,3,1,0,'69.120.114.47',1162901220,1,0,1,1,1,1,'wpqx','Re: The Departed (2006)','I have to disagree. For quite a while Raging Bull would have been my clear favorite, but the more I watch and think about Goodfellas the better I like it. Plus I think Goodfellas is his most compulsively watchable film. Raging Bull drains you. I must say that the last time I watched Casino it was certainly better than the first time, and agreed on the underrated quality of Bringing Out the Dead.','89e36a0b7bb244572bc46595eb293138',0,'','mz2PWkXN',1,0,'',0,0,0),(11620,2083,3,1,0,'69.120.114.47',1167594540,1,0,1,1,1,1,'madhuban','Re: The Departed (2006)','Saw The Departed yesterday and loved it. It is definitely going to make my 2006 list','40590153f4bdae9f1d2dbc2e28579428',0,'','9rjMvPfD',1,0,'',0,0,0),(11621,2083,3,1,0,'69.120.114.47',1167822900,1,0,1,1,1,1,'hengcs','Re: The Departed (2006)','great ...\r\nhave you watched the Infernal Affairs?','4e1cb5842a31c87d7281122722f34f93',0,'','W67T4hKp',1,0,'',0,0,0),(11622,2083,3,1,0,'69.120.114.47',1167947940,1,0,1,1,1,1,'madhuban','Re: The Departed (2006)','No, hengcs, I haven\'t seen Infernal Affairs. I\'ll try and rent it this weekend. Should be interesting to compare the two in the light of your comments.','1d721cbef0c08c1b990d356a4d6b5cec',0,'','pAvhRl47',1,0,'',0,0,0),(11623,2083,3,1,0,'69.120.114.47',1172490600,1,0,1,1,1,1,'hengcs','Re: The Departed (2006)','congrats','571b4ba928ae62e103b54727721ebe56',0,'','Qfgb4VkF',1,0,'',0,0,0),(11624,2083,3,1,0,'69.120.114.47',1172521140,1,0,1,1,1,1,'howardschumann(d)','Re: The Departed (2006)','THE DEPARTED\r\nDirected by Martin Scorsese (2006), 151 minutes\r\n\r\nBased on the popular Hong Kong action thriller Infernal Affairs, Martin Scorseses The Departed has kinetic energy, an outstanding ensemble cast, a world-class director, and tense non-stop action but ultimately fails to provide any genuine emotional satisfaction. Scorsese, whose Taxi Driver, Raging Bull and Goodfellas are classics of the genre, has come up with another gritty urban drama but, unlike his earlier efforts, it is filled with casual, cartoonish killing and a point of view that the excesses of organized crime and law enforcement are virtually indistinguishable. In an environment that does not distinguish between ends and means, there is no one to root for and those that do find a character to cheer for are begging for disappointment.\r\n\r\nSet in the mean streets of South Boston, The Departed is the story of an undercover cop (Leonardo DiCaprio) planted in the Costello crime syndicate and a mole (Matt Damon) who infiltrates the police force, pretending to be a cop. The film comes out of the gate roaring with the Rolling Stones Gimme Shelter providing the background to a street fight. The first Irish Mafioso we meet is Frank Costello, played by Jack Nicholson. In a flashback, Costello recruits a youngster named Colin Sullivan by buying groceries for his family. Later, Sullivan goes to work for Costello when he becomes a detective sergeant in the police force. Unfortunately, Mr. Nicholson performance is so over-the-top that we are all too conscious that we are watching Jack Nicholson, the actor not Frank Costello, the mob kingpin.\r\n\r\nSullivan is played by Matt Damon as a one-dimensional Southie character just out of Good Will Hunting (I was half expecting Ben Affleck to wander into the scene with the rest of his drinking buddies). Sullivans superiors are devout Catholic Captain Queenan (Martin Sheen) and Sergeant Dignam in an Oscar-nominated performance by Mark Wahlberg. Dignam has the most quotable lines in the film, but his character is so foul-mouthed and antagonistic that he soon becomes tiresome. The most accomplished performance in the film is that of Leonardo DiCaprio as Billy Costigan, a tough but sensitive undercover cop who comes from a family with a criminal background and fits into the Costello organization but has to swallow Valium just to stay on an even keel. \r\n\r\nThere is some love interest in the film as well. Both Billy and Colin fall for the police mental health counselor Madolyn (Vera Farmiga). Ms Farmiga does a creditable job but her part is so underwritten that it feels extraneous. Both Costello and the police soon discover that they have a rat in their midst and Sullivan and Costigan are assigned the job of finding the fink. As the noose tightens, both men desperately strive to avoid detection and there is lots of action as the dead bodies pile up. \r\n\r\nThe Departed is a finely crafted film, excellently photographed by Michael Ballhaus and for the most part very well acted. Unfortunately, the plot is very thin and there is little character development or seriousness of purpose. While Scorsese should be acknowledged for telling the truth about the thin line between criminals and the law, the ending is so downbeat that it leaves us wondering what point other than futility the film is trying to make. During two and one-half hours of gratuitous violence, betrayals, double-crosses, and one-note characters, the departed may include members of the exhausted audience.\r\n\r\nGRADE: B-','71dfa5a602ab3bcbcc94b48335c799d9',0,'','WEQhjF5A',1,0,'',0,0,0),(11625,2084,3,1,0,'69.120.114.47',1172521020,1,0,1,1,1,1,'howardschumann(d)','U.S. vs. John Lennon','THE U.S. VS. JOHN LENNON\r\nDirected by David Leaf and John Scheinfeld (2006), 99 minutes\r\n\r\nThe threat of deportation was the weapon of choice used by the Nixon Administration to attempt to silence on of its most vociferous critics, ex-Beatle John Lennon. The battle which was waged over several years between Lennon and the U.S. government is described in the documentary The U.S. vs. John Lennon, directed by David Leaf and John Scheinfeld and produced by VH1 and Lionsgate. The film not only explores Lennons deportation fight but also looks at his life during the period 1966-1976, highlighting his role in the Vietnam War protest movement. \r\n\r\nPreviously unforeseen footage of Lennons public appearances is shown, ranging from his mocking bed-ins and press conference wrapped in a bed sheet to a concert in Ann Arbor in 1971 in support of John Sinclair, a musician given a 10-year sentence for selling two joints to an undercover policeman. While the film features reminiscences of Lennons early life and how he came to be a rebel against the establishment, it does not discuss his relationship with Paul McCartney, the breakup of the Beatles, or his stormy personal life.\r\n\r\nOver thirty interviews are also included with supporters that range from Vietnam veteran Ron Kovic, author Gore Vidal, radical spokespersons Noam Chomsky and Angela Davis, writer Paul Krassner, to Senator George McGovern, Governor Mario Cuomo, and commentators Walter Cronkite and Giraldo Rivera. The other side is represented by G. Gordon Libby, famous for his role in the Watergate affair and former FBI head J. Edgar Hoover. Opening in 1966 when President Lyndon Johnson had just ordered additional troops to fight in Vietnam, the film shows how a casual reference by John Lennon that The Beatles were more popular than Jesus set off a storm of protest in the U.S., mostly by Christian groups.\r\n\r\nLennon became an even more controversial figure when his song Give Peace a Chance became the rallying cry for the growing anti-war movement and was sung at a peace demonstration in Washington DC in 1969 that attracted over a million participants. Determined to use his power as a superstar to help end the war, Lennon became involved with Black Panther leader Bobby Seale, radicals Abbie Hoffman and Jerry Rubin but maintained his adherence to non-violence. It was these friendships, however, that supposedly led to the government putting him under close surveillance. Wiretaps were soon followed by an order for his deportation, a tactic that had been suggested by Senator Strom Thurmond of South Carolina and was supported by Watergate brethren Mitchell, Halderman, and Ehrlichman. \r\n\r\nThe governments case was made stronger by Lennons conviction in 1968 for moral turpitude because of marijuana found in his house by the police, which Lennon claims was planted. The U.S. vs. John Lennon is an unabashedly liberal documentary that is perhaps overly simplistic in its canonization of Saint John but nonetheless is a powerful reminder of the lunacy of the Vietnam War and the strength and courage of one man who made a difference. John Lennons assassination in 1980 evoked worldwide shock and outrage and the film is a worthy tribute to the man and his music, even though there are many depths still to explore.\r\n\r\nGRADE: B+','ea590570a8a1ed7b8c870ed869e45d3f',0,'','9dYpwbhT',1,0,'',0,0,0),(11626,2085,3,1,0,'69.120.114.47',1171313880,1,0,1,1,1,1,'howardschumann(d)','Song\'s Best Friend','SONGS BEST FRIEND: JOHN DENVER REMEMBERED\r\nDirected by Greg Poschman (2006), 58 minutes\r\n\r\nTo work in the service of life and the living, in search of the answers to questions unknown John Denver, Calypso\r\n\r\nOriginally broadcast as a PBS special, the documentary Songs Best Friend: John Denver Remembered is an inspiring tribute to one of the finest American singer/songwriters of the last fifty years. Directed and photographed by Greg Poschman and produced for Sony/BMG by Dirk Detweiler of Sedna Films, the film is a one-hour look at the life of John Denver and the songs that made him famous. Johns pure lyrical voice is heard in rare concert footage spanning three decades and his narration is provided on tape talking about his life and music and the causes he cared about. \r\n\r\nIn the documentary, Johns life is remembered by personal stories and affectionate anecdotes by his wife Annie, producer and arranger Milt Okun, manager Hal Thau, conductor and composer Lee Holdridge, and band members Pete Huttlinger and John Somers, each providing insight into the composition and meaning of his songs. Segments from 1970s television specials and concerts include Sing Australia (1984 and 1994) and Red Rocks (1973 and 1982) and feature thirteen songs including The Eagle and the Hawk, Leaving on a Jet Plane, Country Roads, Aspen Glow, Calypso, Sunshine on My Shoulders, Rocky Mountain High, Thank God Im a Country Boy, and others. \r\n\r\nIn Songs Best Friend, John Denvers songs never sounded more beautiful or moving and the film, while only providing a brief sketch of his life, makes clear who he was and what gave his life its meaning and purpose. An enormously gifted entertainer, he stood up for what he believed in and dedicated his life to the environment and helping people to appreciate the beauty of the natural world. He was in touch with the world around him and his connection to it was clear in every song he wrote. \r\n\r\nJohn worked with Jacques Cousteau in his explorations of our planetary space and with Werner Erhard in his explorations of inner space. He was in his own words, part of the movement, and part of the growing, part of beginning to understand. It has been ten years since his death in a private plane crash. He was a very special person in my life and I miss him a lot. Joyful and loving and letting it be, he lit up the darkness and showed us the way. \r\n\r\nGRADE: A','c820bd3d0796ca612de29dd8563ddc1e',0,'','gX1EPKBG',1,0,'',0,0,0),(11627,2086,3,1,0,'69.120.114.47',1171313820,1,0,1,1,1,1,'howardschumann(d)','Find Me Guilty','FIND ME GUILTY\r\nDirected by Sidney Lumet (2006), 125 minutes\r\n\r\nIf you think that a mobster with a sixth-grade education entertaining a court with quips and off-color jokes while conducting his own defense is only possible on television or novels, think again. Sidney Lumets Find Me Guilty is based on the true story of Giacomo Jackie DiNorscio, a member of New Jerseys Lucchese crime family who, while serving a thirty-year sentence, acted as his own attorney in a criminal trial that lasted 22 months. The trial, which took place from 1987-1988 in Newark, New Jersey, included twenty lawyers defending twenty clients against seventy six charges and became one of the longest running criminal trials in American history. \r\n\r\nThe film died a quick death at the box office, possibly because shortly after its release, author Robert Rudolph filed suit in New Jersey federal district court against the makers of the film, alleging that it was a \'blatant and wholesale theft of his 1992 book about the Lucchesi trials. It did, however, get mostly good critical reviews and was chosen by Chicago film critic Jonathan Rosenbaum as one of the ten best films of 2006. Culled from the 40,000 pages of actual court transcripts, the film focuses on DiNorscio, played by action hero Vin Diesel, who turns the trial into a stand-up comedy routine. \r\n\r\nDiesel wore a hairpiece, gained thirty pounds, and spent time with the real DiNorscio during filming, carefully studying the mannerisms and facial expressions of the crime figure to deliver a completely believable and sympathetic performance. The outstanding cast also includes Peter Dinklage (The Station Agent) as attorney Ben Klandis, sympathetic to DiNorscio, Linus Roache as beleaguered Federal Prosecutor Sean Kierney, Alex Rocco as bitter Mafia boss Nick Calabrese, Ron Silver as Judge Finestein, and Annabella Sciorra in a terrific performance as Jackies wife who visits him in prison. \r\n\r\nThe film opens when Tony, DiNorscios drug-addled cousin, shoots him four times. DiNorscio refuses to name his assailant and is sentenced to 22 to 30 years on narcotics charges, forced to stand trial along with nineteen members of the Lucchese gang on crimes ranging from gambling, loan sharking, and drug dealing to sabotaging legitimate businesses. In the trial, prosecution witnesses are mostly junkies, dealers, and convicted criminals on the Witness Protection Program who openly admit their crimes and are easy bait for DiNorscios savage humor which is carefully woven into the script. When asked by the judge if he had any legal experience, DiNorscio tells him \"I\'ve been in prison half my life\". He tells the jury \"I\'m a gagster, not a gangster.\" \r\n\r\nDiNorscio successfully undermines undercover police officers by showing how they stereotype Italians and cuts the rug out from those who turned States witness to feed their drug habit. Though he freely admits to being a liar, cocaine dealer, and womanizer, DiNorscio gains our sympathy because he refuses to cut any deals with the prosecution and remains loyal to his friends. Find Me Guilty is an attack on a flawed American justice system and the opportunism of government, police, and their lawyers who rely on damaged witnesses and proceed from false or unquestioned assumptions. Unfortunately, while the film has some very strong reasons to recommend it, it hardly presents a balanced picture. \r\n\r\nProviding only a quick scan of the many months of trial, Lumet is so intent in portraying DiNorscio as a loyal family man who speaks from the heart that it borders on romanticizing organized crime. None of the evidence against the defendants is clearly spelled out and we do not get a clear sense of whether justice was done. There is also no mention in the film of the fact that four days after the verdict, according to court records, two of the defendants, Ricciardi and Accetturo began cooperating with state and federal authorities, telling state investigators about a jury fix in the trial. It does, however, deliver the laughs.\r\n\r\nGRADE: B','88d63e526f8b3fde2a5ee02a0cf41a3f',0,'','tFup20mG',1,0,'',0,0,0),(11628,2087,3,1,0,'69.120.114.47',1170709320,1,0,1,1,1,1,'howardschumann(d)','Conversations with Other Women','CONVERSATIONS WITH OTHER WOMEN\r\nDirected by Hans Canosa (2005), 84 minutes\r\n\r\nIn Hans Canosas first feature Conversations with Other Women, a middle-aged man and woman meet at the mans sisters wedding and begin to flirt with each other. As the night continues, we gradually learn that they knew each other before in a close relationship more than twenty years ago. The characters are nameless and we know them only as man and woman. The woman (Helena Bonham-Carter) we find out is married to Jeffrey, a cardiologist (Philip Littell) and lives in London, England with her three children, ages 4, 8, and 12. She says that they are children from his former marriage but due to the length of her marriage, her claim is dubious. The man reveals that he has a steady girlfriend, a 22-year old dancer on the Broadway stage.\r\n\r\nWoman tells man that the only reason she is even at the wedding is that she was asked to be a substitute for the seventh bridesmaid at the last minute. This in spite of the fact that she says \"I haven\'t spoken to any of these people for two years; I get tired of the catch-up game. We discover that the man (Aaron Eckhart) was once married and we see flashbacks of a former relationship that is not at first identified, though becomes obvious fairly soon. They talk about life, especially experiences from their past which they have learned from and both seem less than happy in their present circumstances. The couple remembers how they first met and kissed but she seems to recall more of the details. Their younger selves, played by Nora Zehetner and Erik Eidem, are shown in split screen meeting in a park, then enjoying themselves later at barbecues and dance halls.\r\n\r\nAs the two old friends verbally spar, snapping off one-liners, we know that this is leading to sex but neither seems emotionally involved in the process. Even in bed, the conversation continues in a mocking tone and the verbal jousting is not conducive to romance. \r\n\r\n\"Oh, my God, you\'re fat!\" says Bonham Carter as Eckhart takes off his undershirt. \r\n\r\n\"If I were a woman we wouldn\'t be having sex right now,\" he responds. \r\n\r\nHe keeps reminiscing about the past but she says that she is not interested in other women and it is clear their moments of magic from the past cannot be fully recaptured. Canosas film uses a dual screen format in which each character is shot with two cameras, and presented side-by-side. One character reacts to what the other one is saying and some scenes allow us to view multiple interpretations of the same conversation. It is an interesting technique but I found it to be distracting and ultimately irritating.\r\n\r\nConversations with Other Women is an entertaining film that reminds us that people often need to move on and stamp the word closure on the past. Excellent performances by Helena Bonham Carter and Aaron Eckhart enhance the experience but I had trouble believing that the people or the situations were real. What could have been a thoughtful story of former friends growing up and growing apart as in the recent Old Joy becomes a film of gimmicks and clever one-liners, taking its cue from The Woody Allen School of romantic comedy in which witty banter and sarcastic repartee replaces adult dialogue and emotional connection. \r\n\r\nGRADE: B-','0739c9485523b1f0133682f2db316765',0,'','0S1EiMsd',1,0,'',0,0,0),(11629,2088,3,1,0,'69.120.114.47',1155235380,1,0,1,1,1,1,'wpqx','Little Miss Sunshine (2006)','The new training ground of American filmmakers seems to be in the realm of music videos. Over the last several years Spike Jonze, David Fincher, Michel Gondry, David LaChapelle have all made somewhat noteworthy films. Joining that list are Jonathan Dayton and Valerie Faris, who won an MTV VMA for their work on the Smashing Pumpkins \"Tonight, Tonight\" video. Here they don\'t rely on a surreal text or hyper stylized visuals, but instead seem to bring only their pacing to the table. Compared to the other video directors turned filmmakers, Little Miss Sunshine seems to be one of, if not the most subdued and naturalistic film of the bunch.\r\n\r\nFor once I\'d have to say that the trailer for a film actually helps to capture what the film is about. Having witnessed several advertisements for the film I had a familiarity with the film, and was casually sucked into a \"I know what\'ll happen next\" mentality. That pre-configured notion of guessing the action though gets slightly askewed in the films dramatic turns. Some of them seem straight out of National Lampoon\'s Vacation, particularly the VW mishaps and even the seemingly trademark death in the family. There are a few things you may see coming such as Dwayne (Paul Dano) ending his self imposed vow of silence, or some inspired comedy at the hands of the supremely smutty Grandpa (Alan Arkin). Somewhere over the last decade senoir citizens have become the most vile and vulgar characters in film and TV (which was the subject of great parody in a Simpson\'s episode). However you forget about it because Arkin is just that damn good in his role.\r\n\r\nAs a matter of fact everyone is that damn good in this film. Everyone making up the family is absolutely perfect. You can detect not only that these people know and relate to each other, but everyone seems perfectly suited to the challenges their role require. Greg Kinnear plays something of his typical type, something of a nice guy trying to make his own way and having a rather difficult time of it. He comes off as an annoying armchair quarterback of a father, constantly telling his children about what it takes to be \"a winner\". Toni Collette plays his wife and she is once again exemplary. The two play off of each other well and they have a nagging/argumentative relationship that perfectly reflects where their relationship should be considering their personalities. Being the female role, Collette naturally has more opportunities to show emotion, but her presence never overwhelms the film.\r\n\r\nSteve Carell seems to still be in the process of proving himself as not just an actor, but a bankable movie star. He certainly made a great impression on most viewers in last years 40 Year Old Virgin, and this time around his role bears no similarities to that. He plays the depressed uncle Frank, who\'s just been released from the hospital for attempting suicide. He claims to be the number one Proust scholar, but finds himself out of a job (one of the reasons for the suicide). The fact that he has devoted so much of his life to Proust says something about his character. He delights in his own knowledge, and plays the intellectual quite well. He and Richard don\'t get along at all, and they seem to be nearly at each other\'s throats throughout. Richard alienates his family, whereas Frank finds himself much more adept at handling things and offering advice, even if his own life hasn\'t quite worked out so well. \r\n\r\nIn one of the film\'s defining moments of undermining, Olive (Abigail Breslin) orders ice cream in a roadside diner. When Frank begins to explain what a-la mode means, Richard undercuts him by explaining that ice cream is fattening, and \"winners\" particularly Miss America winners aren\'t fat and probably don\'t eat ice cream. Olive, who we\'ve already seen is a little portly, decides she doesn\'t want her ice cream when it arrives. Frank decides he\'s going to dig in, and offers spoons to Grandpa and Dwayne and all begin eating and making exagerrated gestures on how good it is, and of course Olive gives in and takes it back. Then in a great frame, we see a defeated Richard and his wife Sheryl smiling approvingly.\r\n\r\nThe film has numerous inspired moments, and the beauty pageant is everything you could hope for. A barrage of embarrassed parents, creepy kids with ludicriously large hair and too much makeup, and an MC that\'s a complete and utter talentless tool. I can\'t quite get into describing Olive\'s dance routine and do it justice, but I was honestly surprised, and it certainly made for a great finale. Although the characters all seem to have assigned quirks, the actors make the roles work for them. In fact I doubt there will be a better acted film all year. \r\n\r\nGrade A -','bae4f1a0a941a79576931d2bc0e2147e',0,'','0HkPNSzy',1,0,'',0,0,0),(11630,2088,3,1,0,'69.120.114.47',1169458740,1,0,1,1,1,1,'howardschumann(d)','Re: Little Miss Sunshine (2006)','LITTLE MISS SUNSHINE\r\n\r\nDirected by Jonathan Dayton, Valerie Faris (2006), 103 minutes\r\n\r\nIn real life dysfunctional families can cause immense pain to their children which may last a lifetime. In the movies, however, dysfunctional families are just eccentric rogues who, beneath their harsh exterior, can be as lovable as puppy dogs. No matter how dysfunctional they appear at the beginning, we sense that by the end of the movie, they will be dancing in a circle. Case in point Little Miss Sunshine, a heartwarming Indie comedy by first time directors Jonathan Dayton and Valerie Faris which has received much critical acclaim. The film is a funny and entertaining romp which tackles Americas obsession with winning and, in the process, targets crass pre-teen beauty pageants, motivational speakers, moody teenagers, emotionally unstable professors, and cantankerous old men. \r\n\r\nWhile its heart is in the right place, its bullets are mostly scattershot, only occasionally hitting their targets and the film does not develop its ideas to the point where they have a hard edge. The dysfunctional family in question is the Hoovers (a Kentucky Fried Chicken in every pot?) whose home is in Albuquerque, New Mexico. The family all strive for something beyond their reach in pursuit of happiness in a society that bestows no garlands for second place. Like any good television sitcom, each character is molded to type and fits neatly into the films message. Richard, the father (Greg Kinnear) is a motivational speaker without anyone to motivate. \r\n\r\nThe opening of the film shows him giving his lecture that he calls Nine Steps to Success to a half-empty classroom (he might say it was half full). Sheryl (Toni Collette) is the long-suffering matriarch of the family who tries to pick up the pieces after her brother Frank (Steve Carell), a scholar of French writer Marcel Proust, fails in a suicide attempt after being given the boot by his gay lover who happens to be a student. The moody teenager Dwayne (Paul Dano) hasnt talked to anyone in a year and has vowed to remain silent until he is accepted in the Air Force Academy. Why an iconoclastic young man who reads Nietzsche would want to sign up for the U.S. military is one of those incongruities that will be better left to others to explain. \r\n\r\nThe center of the film, however, deals with seven-year old Olive (Abigail Breslin), a sweet but plain and not too attractive young lady with a pot belly who wants to become a beauty queen and her relationship with Grandpa (Alan Arkin), a lecherous cynic. When Olive places second in a beauty contest and the winner has to vacate her title because she took diet pills, the little girl becomes eligible to compete in the national Little Miss Sunshine contest in Redondo Beach, California. The film then becomes the road trip from hell as the family packs into their broken down VW bus running on two gears with contrived breakdowns in each characters life. Little Miss Sunshine reaches its maximum impact, however, at the beauty pageant where the directors show us overly sexualized children who strut their stuff and grotesquely parade in front of admiring family members in their pursuit of the American dream. \r\n\r\nQuite hilarious is the pasty-faced emcee who sings America the Beautiful into the childrens ears. While the energy of the direction and excellence of the acting produces sympathy for the appealing characters, the comedy is at times so forced and its plot so implausible that even the excellent ensemble cast cannot save it. Little Miss Sunshine has a subversive feel to it and it correctly hints that intention is the key ingredient in achieving your goal, yet ultimately it is a pretty safe and comfortable ride and its message that winning isnt everything and losing has its rewards feels shopworn to the point of banality. \r\n\r\nGRADE: B','379fe9ed1edc80789b082a15f0859a86',0,'','y7VixMt8',1,0,'',0,0,0),(11631,2089,3,1,0,'69.120.114.47',1169299320,1,0,1,1,1,1,'hengcs','Apocalypto (2006)','Director: Mel Gibson\r\n\r\nMy thoughts ...\r\n\r\nTwo things I did not like about the film ...\r\n\r\n(i) I really did not like the beginning scene(s) ... i thought the first 10 to 15 minutes could be edited out ... the director shld simply plunge into the story with the invasion of the other tribe ... while he might have the intent o provide a contrast with the life prior to invasion, it did not engage the audience emotionally ... instead, i thought it might aggravate the situation, as it might come across simply as bad humor ...\r\n\r\n(ii) while one does feel sad during the invasion, and is shocked by some scenes, there is not enough emotional engagement to let you feel for the main protagonist ... in other words, you are not \"rooting\" for him to succeed or fail ... it is too plot/adventure driven ... and to some extent, why must it have a kind of Hollywood ending?! ...\r\n\r\nWhat i thought was commendable ...\r\n\r\n(i) The 2nd hour was much better (at least as an adventure story) ... there are also some well choreographed scenes ... also, you always have to credit them when they tried to film with animals ... wow ... \r\n\r\n(ii) There are some really haunting scenes (though some might come across as too gross and unnecessary) ... some of the \"set designs\" would stick inside your mind too ... oh no ... \r\n\r\nConclusion:\r\nRather mainstream ... thrilling during the second hour ... \r\nIn terms of message ... albeit the director\'s objective/purpose, any \"political/philosophical\" message is unlikely to get across ...\r\n\r\nRecommended, but I am not wow-ed ... i wouldnt have considered it one of the top 5 foreign language films too ... maybe it is too Hollywood ... but more becos of the first few scene(s) ... completely unnecessary ...','65b193266aa297ba0d6fa0991cf369ee',0,'','lo7vMAmX',1,0,'',0,0,0),(11632,2089,3,1,0,'69.120.114.47',1169451360,1,0,1,1,1,1,'hengcs','Re: Apocalypto (2006)','hey justin,\r\nseems like you have watched this too ...\r\nagree with my comments?!','9b83d81df782630aaf3a5ab169f62f36',0,'','Ag8vsxMn',1,0,'',0,0,0),(11633,2090,3,1,0,'69.120.114.47',1168775940,1,0,1,1,1,1,'justindeimen','The King (2005)','Courtesy of MovieXclusive.com\r\n\r\nReview:\r\n\r\nThe King referred to in the The King is by no means a companion piece to Stephen Frearss The Queen but nestles into a more reserved and darkly enamouring portrait of a humanistic animal that thrusts himself into idyllic Americana, a bastard in all sense of the word.\r\n\r\nThe King is unsettlingly aorist in its attempt to create a monstrous human named Elvis (Gael Garcia Bernal) and only hints at the rationale behind the shocking madness and chaos that he brings upon the revered Reverend Sandow (William Hurt), the well-liked minister of a church in Texas and his family. It sets up a confrontation between the two Kings (the other being Jesus of course) so delicately delivered that it tears the misguided ministers life apart as his sinful past hangs ominously above him.\r\n\r\nThe charismatically endowed Bernal uses that particular gift to the fullest extent in his first English-speaking role. He charms those around him with a smile on his face and a wide-eyed naivet that hides frightening intelligence and malevolence. Straight out of the Navy, he makes his way and traces his past to Corpus Christi to locate someone specific. When Elvis does find the Reverend Sandow, he puts a face on the preachers sordid past, one that the pastor left behind after he met Christ. Both men come to a standstill as their feelings are laid bare and wounded.\r\n\r\nToo mapped out to consider the film a character study of Bernals Elvis Valderez, its more concerned with the effects of an intruding figure into the strictly Christian familys existence. The virginal daughters sudden encroachment into womanhood takes a twisted turn while a Bible-thumper in training is given a rude shock about his devotion to his faith. The pastoral patriarch finds no solace in his God as the silent wife stands on the wayside but understands more than anyone else realises. Even then, were left to figure out the overtures and aftermath of the preceding and proceeding actions of each character, each one phenomenally acted upon. Its a refreshing and brave venture that strikes deep into the heart of those lauded all-American values, revealing the shallow facades and decadence that lie beneath a conceit of morality.\r\n\r\nThe allusions to Biblical iconography are the focal point of the film. The hypocrisies and delusions of Christian fundamentalism are given the full work around by director James Marsh with the co-scripting of Milo Addica whose most recognised works in Monsters Ball and Birth share fleeting semblances with the characters in The King. These are the characters that are so understated and subtle in their motivations, and so removed from their own reality that we become enthralled by their obsessions and casuistries. The camera follows Elvis so languidly and breezily that the red-state coastal city seems a natural locale for this storys Shakespearean portions of betrayal, incest and bloodshed.','759e6462c6730c0f1b0eb921f5163373',0,'','RlXSdsTJ',1,0,'',0,0,0),(11634,2090,3,1,0,'69.120.114.47',1168815600,1,0,1,1,1,1,'bamboomedia1','Re: The King (2005)','justin-\r\n\r\nThanks for the thread and review. I love this movie and I put it in my best of 2006 list but I see you are correct it really is 2005. Gael is one of my favorite actors at the moment. I cant say enough about this guy. I saw him in Dot the I awhile ago and I was surprised at how well he spoke English but then I learned he studied in London. I guess he also speaks Italian and French. I hope he goes far and keeps being particular about the projects he takes on.','6a557d00851634511ed1ae91954f6f1c',0,'','rUtWFf1N',1,0,'',0,0,0),(11635,2090,3,1,0,'69.120.114.47',1169172840,1,0,1,1,1,1,'hengcs','Re: The King (2005)','My thoughts ...\r\n\r\n-- Initially, I was full of expectations, cos it sells itself as a thriller ... but hey, the pacing was kind of slow (though it suits the mood of the location) ... \r\n\r\n-- However, what I thought was good ...\r\n\r\n(i) the last two scenes ... how the soundtrack really \"chills\" as the camera pans into the house ... and finally into the bedroom ...\r\n\r\n(ii) also, the last scene, when Gael returned to ... \r\n\r\n(iii) as usual, at the end of the film, you are free to discuss with others what you think the film is trying to do/say ... in Singapore, it is given a R(A)21 rating ... if you think it is abt the s** scenes, then you would be disappointed ... i presume it is more abt the religious take ...\r\n\r\nanyway, it does make you think abt ...\r\n... religion/faith and its challenges ... even more so with the last scene ...\r\n... forgiveness and vengeance \r\n... present and the past ...\r\n... whether things were plotted all along, or was Gael just a victim of circumstances, or was he just a \"survivor\" ...\r\netc\r\n\r\nConclusion:\r\nHmmm ... recommended ...','c378a8299c1b5ca0aa119d90549b8583',0,'','3secEBKv',1,0,'',0,0,0),(11636,2091,3,1,0,'69.120.114.47',1168805400,1,0,1,1,1,1,'justindeimen','Haven (2004)','Review: \r\n\r\nMoney settles in snugly at the heart of this intrepid love story between interracial islanders, so it does seem fitting that its set in the international banking hub called the Cayman Islands that holds over 500 banks. Indeed the entire island runs on the finances of others (legally or otherwise), creating a gulf in economic situations for its inhabitants, white and black. With these distinctions, corruption reigns with all the greed that goes along with it. Cayman Islander, Frank E. Flowers writes and directs Haven, guided by his memories and attempts a keen insight into the mindset of the islands class structure and the corrupting sleaze from men in suits who unduly see no commonality with the native thugs. It certainly does make the Cayman Islands an intriguing locale. \r\n\r\nCo-producer Orlando Blooms commercial potential outweighs any creative casting benefits as he filmed this role while taking a short break from being Will Turner. Bloom emotes little, becomes a hysterical victim of his overblown circumstances and becomes a foil for the rest of the characters instead of imposing his chops onto a paltry script that doesnt hide much at all within the slick edits and fancy crisscrossing between its shallow ensemble. He plays Shy, not in the least as a character trait but is explained in a flashback that lasts as long as it takes to read this sentence. Shy is in the lower end of the economic spectrum on the isle, a fisherman by trade whos in love with Andrea (another Pirates of the Caribbean alum in Zoe Saldana), the youngest and virginal member of one of the islands most prominent black families. Zipping on swiftly to the other end of the island, American Carl Ridley (Bill Paxton) is a man on the run from the FBI with his teenage daughter, Pippa (Agnes Bruckner) in tow. And so the disparate classes of the films characters are carelessly weaved into an unconvincing melodrama of betrayal and revenge that wrecks the already weak individuality of these stories. \r\n\r\nMixing pragmatism with romanticism, the two main narrative veins cross each other through flimsy contrivances, awkwardly switching between time and space by throwing in flashbacks that serve no purpose. In the end, it loses whatever little focus and goodwill it had when it established a beautiful coastal view and the shimmering blue ocean at the start. Theres just a lack of storytelling rhythm in its motion, which contrasts the mood-altering soundtrack of Caribbean tunes and Cayman folk music. \r\n\r\nThe director does try his hardest to insert as much of the local patois of the islands youth and the relation to crime, showing the association between the islands decadence and the prevalent drug use amongst the youth. Flowers crafts a latent sense of racism throughout the film that spans the natives and businessmen that probably owes more to economic circumstances than race. Unfortunately, Flowers also shows an unsteady hand in handling these social ills, as the simmering tensions dont come to a full boil, and instead fizzles out into nothing worth the effort at all. \r\n\r\nIts not hard to notice the undercurrent of unwarranted anger and aesthetic pride that Flowers has for the island. He works in a none-too-subtle jab at the western encroachment and the influx of borderline legal businesses that threaten to destroy the harmonic exoticism of his island paradise. How else can we interpret the lack of exposition regarding the crime of Paxtons character but merely as a way of showing that all white businessmen on the island are up to no good?','98b82ee4b81a1bca8264bcdb58338aa7',0,'','Sanw9ZTu',1,0,'',0,0,0),(11637,2092,3,1,0,'69.120.114.47',1168016040,1,0,1,1,1,1,'justindeimen','Fur','Courtesy of MovieXclusive.com\r\n\r\nReview:\r\n\r\nIn facetious literary terms, Diane Arbus (thats pronounced Dee-Ann) would be dismissed as just another poor little rich girl. On Arbuss terms, she rose swiftly and almost suddenly to strike back at the alienation she felt. From being in danger of becoming just another a crusted New York housewife with an upper-middle class background to becoming one of avant-garde photographys greatest legends, Diane Arbus transcends just being a pioneering female figure. Indeed, the director Steven Shainberg does not intend to merely pay tribute to her, but to every artist and to everyone who dared break the mould to pursue their desires.\r\n\r\nBorn Diane Nemerov, Diane (Nicole Kidman) was considered a gifted child. But being devoid of attention (the type she preferred anyway) in the phallocentric 40s gave rise to the feeling of rebelliousness in her. She met and married fashion photographer Allan Arbus (Ty Burrell), a tumultuous marriage if anything but one that served to provide an avenue for Dianes bustling imagination and intelligence. Its important to note that the Fur does not acquaint us with her lifes numerous ups and downs but praises her most prevailing aspect a career as one of the most influential photographers of the century. In such, its not a description of her successes but one that explores her processes as she walks the line between obsession and artistry, and what triggered that explosion of insight that she innately shared through her photographs.\r\n\r\nWhat Fur does do is try to imaginatively recreate the months in between Arbuss life as she leaves her husbands side to work on her notion of photography, her own personality. Although based on Arbuss life, its hard to call Fur a biography in any sense of the word when its suitably a fantasy, one borne of utter whimsy that directly relates to Arbuss own capricious nature and curiosity. Fur hypothesises an experience Arbus has with a kindred spirit. From this person, shes inspired to work her magic with the marginalised of society, from whom she eventually made her name.\r\n\r\nDuring a moment away from her lifes faades as wife and assistant to her husband, she becomes intrigued, drawn towards a hooded man that lives upstairs. His name is Lionel Sweeney (Robert Downey Jr.) and hes covered in hair (or fur as it is insisted upon in order to provide a connection to Arbuss father), the hirsute body hiding the subject, the mentor that Diane desperately needs. Thus, we have a darkly comic fairy tale rife with sexual tension and a quaint sensation of discovery as we are propelled into a fantasy-fuelled expedition into Dianes catalyst for the rest of her life.\r\n\r\nNicole Kidman seems a strange choice in the context of Arbuss life but not as Diane Arbus in Fur. Bearing not much of a resemblance to Arbus, but probably to the models that plagued her creative bone for much of Arbuss early career with her husband in tow. Kidman is ethereal in Fur, a waifish porcelain countenance that seems to float off the ground is in direct contract to Arbuss grounded personality and experiences, one thats seen enough to know enough. But what Kidman gets right is a keen intuitiveness and intensity, and thats all thats needed to replicate her subjects progression into the legend she became.\r\n\r\nIn an invigorating and stimulating palette, the camera captures Arbuss passion and observes lovingly. Its reasonably tough to photograph a remarkable photographer, but the lensing is more than adequately eye-catching and fawns over her with a measure of sympathy and awe. While navigating through the lives of such incalculably talented artists like Sylvia Plath and Diane Arbus and the inextricable sadness attached to them, Fur is determined to uplift in spite of a tragic ending to Arbuss life.','b502107e2dcbef8a736fa7e3cee2f4ae',0,'','6k8TgdQ1',1,0,'',0,0,0),(11638,2092,3,1,0,'69.120.114.47',1168027620,1,0,1,1,1,1,'madhuban','Re: Fur','Nice review, justin. You have a way with opening sentences that draws a reader in, irrespective of whether he/she cares for the film you happen to be reviewing. Needless to say that you write very well, and here\'s wishing you a great future as a film critic \r\n\r\nM','b75586f682ca8c5bf3176a297b3ecf73',0,'','ZPY3bLv6',1,0,'',0,0,0),(11639,2092,3,1,0,'69.120.114.47',1168031400,1,0,1,1,1,1,'justindeimen','Re: Fur','Thanks madhuban! \r\n\r\nI don\'t see film critic as a career goal but it sure seems like a great option now that you mention it \r\n\r\nI hope to find time to write exclusively for this board but I just don\'t seem to have the time with all the new films coming out and my own obligations to review those.\r\n\r\nI\'ve definitely pegged the great films of IFFR to be ones I\'d love to write about. Some interesting films indeed have been chosen.','dede1677467dde0a819946f189f2e804',0,'','DS65QJCk',1,0,'',0,0,0),(11640,2092,3,1,0,'69.120.114.47',1168075800,1,0,1,1,1,1,'hengcs','Re: Fur','I have to agree on your writing skills ...\r\nand I guess many on this board would too ...','9c35f8a26b2a9a2dfba97c80880db224',0,'','7fBTVily',1,0,'',0,0,0),(11641,2092,3,1,0,'69.120.114.47',1168097700,1,0,1,1,1,1,'trevor826','Re: Fur','Good writing like Justin\'s and others on site is inspirational, it certainly pushes me to try and develop my own literary style (though, at present it still eludes me ). \r\n\r\nCheers Trev.','c330cb0d08273e7f222d073023b45d25',0,'','z5W9KSrF',1,0,'',0,0,0),(11642,2093,3,1,0,'69.120.114.47',1167658980,1,0,1,1,1,1,'arsaib4','Bent Hamer\'s Factotum (U.S.-Nor-Ger-Fra-Swe / 2005)','\r\n\r\nBent Hamers Factotum -- which is primarily based on Charles Bukowskis semi-autobiographical novel of the same name -- may not fully satisfy hardcore fans of the late German-born pote maudit, but then, they perhaps wouldnt be called Bukowski fans if were satisfied with anything. The skid row author was infamous for defying societal norms so he could create and live by his own rules, where he found poetry in lifes daily trials and tribulations. His North American followers might be surprised to learn that along with France his work is also much respected in Scandinavia. But if one is to consider the sort of characters that populate Aki Kaurismki films, it almost makes sense.\r\n\r\nAnd speaking of the Finnish auteur, Norwegian Hamer has applied his trademark droll, deadpan tone to Factotum. Even the clean, uncluttered, pared-down images recall Kaurismki, not to mention a few others from the region. (Theres also a Jim Jarmusch connection: Hamers co-writer and producer is Jim Stark, who worked in a similar capacity with the Amerindie maverick.) A \"factotum\" is someone who performs a wide variety of jobs, usually in a subordinate role, a description which befits Bukowskis alter ego Henry \"Hank\" Chinaski (Matt Dillon). Hes seen working a plethora of menial jobs (ice crusher, pickle sorter, brake shoe fluid dispenser, etc.), making, and being satisfied with, just enough to fulfill his true pleasures: alcohol and women (in that order). The former eventually leads to the latter as he ends up in the bed of someone who appears to be his soulmate: Jan (Lili Taylor), a fellow alcoholic whos also living on the margins of society . (A sample of Chinaskis musings after a hard night of sex and booze: \"[Jan] was an excellent @#%$. She had a tight @#%$. She took it like a knife that was killing her.\")\r\n\r\nBut after Chinaski makes a few bucks at the race track, his relationship with Jan starts to suffer (we learn that he \"@#%$ better as a bum\"). She moves on. Chinaski practically ends up on the streets, once again. Then he comes across another oddball: Laura (Marisa Tomei), an upscale hooker of sorts with a French sugardaddy named Pierre (Didier Flamand) who houses lost and damaged young women. (Actress Adrienne Shelly, who plays one of those women, was recently murdered in her Manhattan apartment. She was best known for her work with filmmaker Hal Hartley.) Pierre dies. Chinaski reunites with Jan. Then he loses her again. He works a few more dead-end jobs. He loses them, too. Life goes on. But no matter what, Chinaski never stops writing. Poems, short stories, novels -- anything which relieves the tension of the \"words bubbling inside him.\" He continues to send his stuff to a publisher he admired, but expected nothing in return. He simply loved his art. \r\n\r\nMuch like the novel, Factotum progresses through a series of vignettes, gradually revealing (and deepening) Chinaskis outlook on life. Hamer skillfully employs his protagonists razor-edged, almost sardonic voice-over narration to connect the dots. While it wouldve been interesting to see how Sean Penn approached Chinaski (he was the first choice for the role), Dillon aptly applies his laid-back persona and method of delivery, seemingly contemplating each word that comes out of his mouth, thus imbuing the character with a certain world-weariness. (Not surprisingly, Mickey Rourkes Chinaski was wild and extravagant in Bukowski-scripted Barfly [1987], a fine film in its own right.) But Hamer and Dillon dont quite end up creating a sympathetic figure either; no matter how much of a low-life be became, he still walked across the room like he was \"hot @#%$,\" which is how one character puts it. Both Taylor and Tomei are wonderful in supporting roles. \r\n\r\nAlong with being an affecting individual portrait, Factotum also works well as a film about life in the underbelly of our society, where a working poor is never far away from outright homelessness. And anyone not willing to submit to the 9-to-5 grind is inexplicably shunned and marginalized. Chinaski perhaps wouldnt have had it any other way, though; its possible that he not only @#%$ better as a bum, but wrote better as one also. His motivations had their own private logic. And the film recognizes that in a late episode: while the early morning sun still serves as an inspiration for an old drunken black man (with whom Chinaski ends up spending time on the street after getting kicked out from a workplace for, what else, drinking); to find his, Chinaski simply heads for the local strip-joint.\r\n\r\nGrade: B+\r\n______________________\r\n\r\n*FACTOTUM had its international premiere at the 2005 Cannes Film Festival (Directors\' Fortnight). The film was distributed in the U.S. by IFC Films. \r\n\r\n*Now available on DVD from IFC Films/Genius Ent. Also available in the U.K. (Icon Home Ent.).','771c8526ea0a8d5bc6b827a845bbb5d8',0,'','xjzT1uwv',1,0,'',0,0,0),(11643,2093,3,1,0,'69.120.114.47',1167744300,1,0,1,1,1,1,'wpqx','Re: Bent Hamer\'s Factotum (U.S.-Nor-Ger-Fra-Swe / 2005)','Factotum (2006) - Bent Hamer\r\n\r\nAn anomolly of an American film, and a very decidedly low key picture especially dealing with alcoholism. This film seemed perfectly attuned for a New Year\'s Eve viewing before getting annihliated beyond all recognition. Many scenes unfold in one continuous shot, with sparse camera movement. Matt Dillon is given free reign as the focal point of the entire film, being part of nearly every scene, and present in the overwhelming majority of shots. He plays a remoursless alcohlic who doesn\'t seem to have a false air about him. His substance is alcohol and this is what he works for, content to live in squalor as long as there\'s enough money for some whiskey. True to most movie alcohlics though his drinks are straight, as opposed to the overwhelming amount of mixed drinks that most people ingest. Everything is played down to a minimalist effect. Losing a job, losing a home, breaking up, all of this is handled as casually as one might eat Corn Flakes over Cheerios. Dillon is great throughout and never breaks character, and for Hamer, this is a damn fine American debut which makes me want to hunt out his Norwegian films.','ea084efba182e18e0ddc5e2c0d790c45',0,'','E5iHolCF',1,0,'',0,0,0),(11644,2093,3,1,0,'69.120.114.47',1167823320,1,0,1,1,1,1,'arsaib4','Re: Bent Hamer\'s Factotum (U.S.-Nor-Ger-Fra-Swe / 2005)','Factotum is Hamer\'s fourth feature. His other are Eggs, Water Easy Reach and Kitchen Stories. The latter is available on DVD in the U.S. It is also a Kaurismki-esque tale about a Swedish scientist sent to study culinary habits of a Norwegian widower (it\'s funnier than it sounds).','239c0511523dd70923ab45ee4e741a4a',0,'','KrPnozJM',1,0,'',0,0,0),(11645,2093,3,1,0,'69.120.114.47',1167835980,1,0,1,1,1,1,'trevor826','Re: Bent Hamer\'s Factotum (U.S.-Nor-Ger-Fra-Swe / 2005)','Kitchen Stories was a surprise to me, it doesn\'t sound appealing at all but is eminently watchable and engaging as a study of social interplay. It was released on a rather lacklustre dvd in the UK by Drakes Avenue but fortunately the film stands up for itself. Well worth seeking out.\r\n\r\nCheers Trev.','87b1fb821695cb5c62e659315f63b283',0,'','o2MJ07Tp',1,0,'',0,0,0),(11646,2094,3,1,0,'69.120.114.47',1167500520,1,0,1,1,1,1,'justindeimen','Blood Diamond (2006)','Courtesy of MovieXclusive.com\r\n\r\nReview:\r\n\r\nTheres an almost obligatory stink of condescension towards its execrable subject matter in Edward Zwicks Blood Diamond. Going against the wisely sowed musings of various Africans in the film regarding a human beings essential nature, it blithely tosses the blame card to the West and any first-world countries that do not involve themselves in the African misery. It predictably wears its heart on its sleeve, but is so easily prone to the complicated mire of good intentions that it is regrettably unglued to the films pursuit of being a mildly entertaining action melodrama.\r\n\r\nThe controversy surrounding these conflict diamonds started months before the films release, ironically doing more good in corporate circles that actually have a direct voice in opposing the effects of these baleful gemstones. And perhaps to jewelers everywhere that are even the slightest bit concerned of the films backlash can take heed in that the Blood Diamond is essentially set in the late 90s, during a time when there wasnt something called the Kimberley Process, which certifies that diamond acquisitions have not been used to finance armed rebels.\r\n\r\n1999, Sierra Leone is in a midst of a civil war and Solomon Vandy (Djimon Hounsou) is a loving family man unexpectedly captured and separated from his wife and children, forced to mine for diamonds by radical rebellion forces that fund their murderous agendas by selling these gems to outside bidders through a intricate network of smugglers, middlemen and buyers. Its early scenes take no prisoners and are duly uncompromising. But in an absurdly crafted plot device, Solomon becomes complicit in a scheme forced onto him by a white Zimbabwean diamond smuggler named Danny Archer (Leonardo DiCaprio) in just one of the many allusions to white devil, black slave dependency that Zwick accentuates throughout their tumultuous relationship. They join up with the dashingly amoral smugglers love interest, Maddy Bowen (Jennifer Connelly), a suitably inconsequential character that only services parts of the plot and not enough of its overarching message in the films sanctimonious pursuit of impeachment and responsibility.\r\n\r\nWhile the film address too many of issues and tries to fix the entire spectra of Africas problems, its contradictory message between its main players end up becoming racialist. Theres no discernable creative benefits of casting a white actor in the lead role aside from the throwaway lines of the stupefying rah-rah rhetoric of we are African, we bleed red tripe that negates the tenuous characterisation of DiCaprios Archer when he straddles the moral quandaries of his characters African-ness. In fact, every white character becomes increasingly important while the dark-skinned masses that are torn to shreds by the automatic gunfire seem to be noticeably anonymous.\r\n\r\nDiCaprio and Hounsou give all they can in their performances. An unhinged Hounsou overpowers DiCaprio\'s performance thoroughly in every scene they share. Running the full gamut of emotions, its a wonder he has anything left in the tank soon after an underdeveloped subplot surrounding the brainwashing and realignment of moral lines in children by the conscious-stripping, soul engulfing brutality of genocide.\r\n\r\nNow, despite its overly earnest moral aptitude, its inflated runtime and the overhyped publicity machine, Blood Diamond does use fact to support its fiction. The continents natural resources are bait for vulturous gangs, as it is statistically proven that strife increases as new resources are mined with rival gangs marking their territory with blood. Unfortunately, while it insists that diamond and trading companies dont just deal with the tangibility of gemstones but with the lives and blood of millions of Africans, its underlying cynicism just does not sit well with its preachy self-fellating deliberateness that ends the moment the reel does.','027959a8808d4b9d5a24051af3ce7eea',0,'','JlAz0Lgy',1,0,'',0,0,0),(11647,2094,3,1,0,'69.120.114.47',1167822720,1,0,1,1,1,1,'hengcs','Re: Blood Diamond (2006)','I have watched it a few days ago ... \r\nto be fair, i think mainstream audience may like it very much ... as it keep you on the toes occasionally ...\r\n\r\nas for me, i think Leonardo deserve a Best Actor nod this year ... but for which film ... The Departed or Blood Diamond ... let me think ...','dd4881a308b8ed412344f2a9a6c46eaf',0,'','X0ijJcn8',1,0,'',0,0,0),(11648,2095,3,1,0,'69.120.114.47',1145507640,1,0,1,1,1,1,'hengcs','Inside Man (2006) (USA)','Director: Spike Lee\r\nCast: Denzel Washington, Clive Owen, Jodie Foster\r\n\r\nHi,\r\nI am actually surprised no one talks about it here.\r\nIt was originally on my too watch list for April ...\r\n\r\nHowever, the distributor has chosen to distribute the PG and NOT original uncensored version. Hence, I have decided to wait for the original version.\r\n\r\nSo, my question is -- does it live to its hype?\r\nApparently, imdb and rottentomatoes give it good reviews ...','4259ed460d1692138e318647c4fb2626',0,'','2GmYdjbw',1,0,'',0,0,0),(11649,2095,3,1,0,'69.120.114.47',1147411500,1,0,1,1,1,1,'A','Re: Inside Man (2006) (USA)','Haven\'t seen it yet, but I\'m surprised that our other members obviously also haven\'t. \r\nHow about you wpqx. Am i remembering right that you\'re a Spike lee fan?','a6a554066c361bc6b1b6b8b13ce51dfc',0,'','BKRC0rSv',1,0,'',0,0,0),(11650,2095,3,1,0,'69.120.114.47',1147508760,1,0,1,1,1,1,'arsaib4','Re: Inside Man (2006) (USA)','This joint was better than the previous one.','8668ab22582a70e74d51e64ac02d214d',0,'','xivamro3',1,0,'',0,0,0),(11651,2095,3,1,0,'69.120.114.47',1147558080,1,0,1,1,1,1,'A','Re: Inside Man (2006) (USA)','\r\nYou mean \"she hate me\"? Haven\'t seen that one, but I loved \"The 25th Hour\".','96afda5a2149a28da16e1f1f8f0561b3',0,'','H4c1vaLV',1,0,'',0,0,0),(11652,2095,3,1,0,'69.120.114.47',1147558740,1,0,1,1,1,1,'arsaib4','Re: Inside Man (2006) (USA)','Yup. As for 25th Hour, it had a lot of interesting ideas that never gelled together very well. Still, I thought it offered enough to chew on.','e89a65f03c8e5b497dbf36f992bc124e',0,'','Ux3DfnCV',1,0,'',0,0,0),(11653,2095,3,1,0,'69.120.114.47',1152664440,1,0,1,1,1,1,'justindeimen','Re: Inside Man (2006) (USA)','I absolutely loved this movie. There\'s just something about Spike Lee movies that seems to always jump out at you even the most insignificant things are interesting. \r\n\r\nHow inspired was using the Bollywood tune to open and end the film, especially the end with the credits. Exceptional!','e0556875afd4deea9eb6b1e6a06cf715',0,'','VPZ0wvoB',1,0,'',0,0,0),(11654,2095,3,1,0,'69.120.114.47',1152683940,1,0,1,1,1,1,'arsaib4','Re: Inside Man (2006) (USA)','It was certainly a surprise. I believe Ghost World also opened with a Bollywood track, though a classic one. The song featured in Inside Man came from a recent film by Mani Ratnam called Dil Se. (I wish our Indian-based contributor, Madhuban, was around to confirm.) I\'m not sure if Lee selected it because it sounded \"cool\" (which it certainly does) or if its translation held some meaning for him. (Ratman\'s film dealt with terrorism/counter-terrorism.) As for the film, it was enjoyable, though I have some doubts regarding how much depth its racial/sexual identity politics actually had.','e076474bf9dc65d4930bf6aa85dd0162',0,'','pyRHPc6b',1,0,'',0,0,0),(11655,2095,3,1,0,'69.120.114.47',1155929280,1,0,1,1,1,1,'bamboomedia1','Re: Inside Man (2006) (USA)','I hate to disagree on my first post butI just saw this film last night and I have to say that I thought it was pretty bad. I expected a lot more since it was a Spike Lee film but I have to say I was disappointed. The long rotating camera shots left a lot to be desired and at times I thought the acting was cringe-worthy. Most notably the scenes with Jody Foster and the judge as well as the diner scene with the non-Arab guy were extremely horrible. (Didnt anyone else notice this?) Overall, ehh. Not really a motivator for me to revisit Spike Lees earlier works that I dont remember very well.','07373983063db908b0b7806eefbd6ecc',0,'','ykedrWpR',1,0,'',0,0,0),(11656,2095,3,1,0,'69.120.114.47',1155962820,1,0,1,1,1,1,'hengcs','Re: Inside Man (2006) (USA)','Quote bamboomedia1, \"I hate to disagree on my first post ...\"\r\n\r\nhi bamboomedia1,\r\nnice to see u ...\r\n\r\nbut pardon me, which was your first post?!','a8373f62f4e49dca9cbcd15f8cd402ab',0,'','h2fLZzG1',1,0,'',0,0,0),(11657,2095,3,1,0,'69.120.114.47',1155963300,1,0,1,1,1,1,'bamboomedia1','Re: Inside Man (2006) (USA)','Thank you.\r\n\r\nThe first message I posted on this board was the one above yours about Inside Man. ;-)','04fa544409e80b702791890019b266ff',0,'','ou8sh6Cx',1,0,'',0,0,0),(11658,2095,3,1,0,'69.120.114.47',1156619940,1,0,1,1,1,1,'trevor826','Re: Inside Man (2006) (USA)','Very different for Spike Lee and quite a clever crime caper but I did feel the racial issues were dealt with in a very simplistic, naive, even cliched manner.\r\n\r\nEnjoyable, entertaining and nicely constructed but without the impact of his earlier work. Loved the Bollywood style song at the beginning and over the end titles but didn\'t feel any of the performances were outstanding in fact I\'d go as far as to say that the performances of the principals was purely perfunctory.\r\n\r\nCheers Trev.','5f2a68e8cc5bbe4b76c8e7d330d21b95',0,'','ri2ez0mC',1,0,'',0,0,0),(11659,2095,3,1,0,'69.120.114.47',1156956540,1,0,1,1,1,1,'trevor826','Re: Inside Man (2006) (USA)','I had to bring up one point, that shot straight after the execution, Denzil Washington\'s character speeding along obviously on some sort of trolley, that was so hysterical! \r\n\r\nI nearly choked on my tea and had to rewind it a couple of times just to ensure I hadn\'t imagined it. What on Earth was Spike Lee thinking, it was so out of place and looked hilariously stupid, in a film such as Evil Dead or Naked Gun yes, but in a serious crime drama?\r\n\r\nCheers Trev.','97c9e7a3982c7bcc17be799787280180',0,'','0kBrpxyA',1,0,'',0,0,0),(11660,2095,3,1,0,'69.120.114.47',1156956960,1,0,1,1,1,1,'justindeimen','Re: Inside Man (2006) (USA)','That\'s a trademark of Spike\'s I think. I remember watching Summer of Sam, and there was a shot exactly like that albeit in this case, introducing a character.','37979dd0d121219870c41890220c1c23',0,'','9n0iqs8y',1,0,'',0,0,0),(11661,2095,3,1,0,'69.120.114.47',1166697840,1,0,1,1,1,1,'wpqx','Re: Inside Man (2006) (USA)','It took me awhile to get to this film, and my expectations weren\'t disastrously high. I still think Lee is best when working with his own material and agree with arsaib\'s comments that 25th Hour didn\'t quite gel despite some very good moments. This movie is clever, but I don\'t think it really comes together. That tracking shot involving Denzel was a little out of place, and the beginning of this film didn\'t establish itself as a film of flashy techiques. She Hate Me was a muddled mess, but its high\'s were better.','5d8eca30a46b4f6cc0707329374d7cc3',0,'','9SxjPie0',1,0,'',0,0,0),(11662,2096,3,1,0,'69.120.114.47',1166123760,1,0,1,1,1,1,'justindeimen','The Holiday (2006)','Courtesy of MovieXclusive.com\r\n\r\nReview:\r\n\r\nIn trying to recreate the seasonal success of the culture-crossing Love Actually, one of Hollywoods most sought-after female filmmakers, Nancy Meyers extends her romantic comedy repertoire by writing and directing The Holiday. And as with all of Meyers films, cutesiness and happy endings are firmly distinguishable on the horizon. While longer than most epic romances in its 2-hour-plus runtime, it relies on contrivances and cloying dialogue wrapped in a sleek holiday fairytale to sell us 2 rather non-epic love stories that take place half way across the world from each other.\r\n\r\nAt its core, The Holiday tries its hardest to craft a sense of nostalgic, golden-age-of-Hollywood sort of romance that either seems too tongue-in-cheek to be clever or just too tongue-tied to work. Brazenly quoting and referencing films such as The Lady Eve, Casablanca, it desperately attempts to add a touch of class to the rest of its proceedings that inevitably includes the most predictable and painfully derivative scenes in modern romantic comedies.\r\n\r\nOnce again Kate Winslet finds her natural exuberance and beauty being relegated to a plain-jane role in order to be placed understatedly alongside the American bombshell in Cameron Diaz, just one of its many character parallelisms keenly planned to differentiate these women. Winslet is Iris, an underappreciated reporter for a daily in London and Diaz epitomises the modern successful woman running a successful business cutting trailers for big-budget Hollywood movies. Different facets of their lives consume both ladies, Iris to her cheating ex-boyfriend and Amanda to her job. As both decide a holiday might do them both good in the absence of men, they swap cottage for mansion and Surrey for Hollywood.\r\n\r\nOverly emphasising the implausibly simple adult relationships these ladies come to know, they each meet new men on their vacation away from men. Amanda meets Graham, yet another Jude Law performance where he mistakes smarmy for charming while Iris meets Miles, an uncomfortably understated Jack Black reveling in the films rare moments of Tenacious Dism. A giddy and lively Diaz makes the early part of the script work, when comedy is on its agenda. As it slides slowly through the motions of melodrama, Winslet comes to the fore only to underpin the awkward casting of Jack Black when they lack chemistry in key scenes. It does have an ace under its sleeves with its most consistent character in the 90 year-old Arthur Abbott (Eli Wallach), an aging screenwriting legend who befriends Iris while delivering the best lines that cuts through the crap of self-pity and the films own cinematic conceit.\r\n\r\nTheres also a misplaced sense of goodwill in the film when it urges us to celebrate with its apparently strong females in their moment of triumph, but really what self-respect can we afford them when they base their self-worth on their success with men? Despite its abhorrently long runtime and all its flaws, The Holiday is still probably the years prettiest and emotionally grounded romantic comedy with Nancy Meyers experience in the genre keeping it steady.','1065c2f0eedb074b41d7edf236b642bb',0,'','WN1sh9F5',1,0,'',0,0,0),(11663,2097,3,1,0,'69.120.114.47',1166123700,1,0,1,1,1,1,'justindeimen','Snow Cake (2006)','Courtesy of MovieXclusive.com\r\n\r\nReview:\r\n\r\nThe simple truth about Snow Cake is that it wants us to accept people as they are. No matter what their misdeeds, their trespasses or what their very natures are. It centres itself upon a reserved, tired Alex Hughes (Alan Rickman) who looks upon his inadequacies as a quandary that he imprisons himself in. The vivacious Vivienne (Emily Hampshire) plumps herself down in front of him unexpectedly and tells him that she chose to talk to him because he looks lonely and that she needs a favour. We start to sense a dire loneliness and need in his attempt to offer his assistance amidst his understandable reluctance. He reveals to her a caveat that she takes surprisingly well leading to the first human connection he has had in a long while.\r\n\r\nAnd as tragedy strikes early and just as cruelly, Alex takes it upon himself to seek out Viviennes mother in Wawa, Ontario. Alexs guilt, his despair, and perhaps his self-loathing, is so great that he seeks out certain punishment and admonishment from a stranger. The mother, Linda Freeman (Sigourney Weaver) presents herself to him as an unreasonably cold woman but the story progresses on to show us that shes a high-functioning autistic with the ability to carry on a sensible conversation and possesses an admirably strong sense of self. She shows an underlying intelligence to penetrate through the veneers of Alexs remorse and misplaced guilt but without the slightest pretense, she urges him to stay awhile. Stunned and just a little awed by her refreshingly honest innocence, Alex relents.\r\n\r\nAlex acts as a foil to Lindas idiosyncrasies, both the hard times and the welcoming times that result in a close and intimate friendship. We discover, as does he, that Linda betrays the unfair perception of autism that even the good attentions of her friends fall victim to. She is self-sufficient to an extent that hes surprised to discover, and self-aware of her differences. Her ability to articulate her feelings and sense the emotions of those around her offers Alex different perspectives. She lets her words cut through and dispose of any sentiment of pity and replaces it with a joyful sense of humour that is dispersed throughout the film.\r\n\r\nUnderneath the films frosted exterior of the biting Ontario snow, it hides the oft-unused human faculty of forgiveness. It consciously weaves together hidden pasts and future relationships with this very fabric of forgiveness. Rickman situates himself between a rock and a hard place, with an acutely observed portrait of a man that is firmly barren while attempting to control his cascading emotions. Sometimes we can discern the charm that he must have once had, the wry smiles and knowing glances at Lindas facilitating neighbour, Maggie (Carrie-Ann Moss) show as much as his dour and obtrusive stone-faced expressions does.\r\n\r\nEven as desperately lonely as Snow Cake starts out, it argues that even at the very end of a dark passage, at its final hurdles, the hopeless can still discover some measure of consolation in the tender arms of mercy and acceptance of love.','7cf4e0643bb3b177433e68e9d3c04dcd',0,'','MTJKnGp5',1,0,'',0,0,0),(11664,2098,3,1,0,'69.120.114.47',1165923900,1,0,1,1,1,1,'howardschumann(d)','V for Vendetta','V FOR VENDETTA\r\n\r\nDirected by James McTeigue (2005)\r\n\r\nV for Vendetta is a Hollywood action film with a difference it is a film of ideas that has something intelligent to say about contemporary society. Directed by James McTeigue, assistant director of The Matrix trilogy and written by the Wachowski Brothers, the film is based on a graphic novel from the 1980s by Alan Moore (who did not want his name in the credits) directed against then Prime Minister Margaret Thatcher. Though it has its roots in a comic strip, it asks a serious question whether political action must be accomplished by peaceful means through established political channels or whether civil disobedience (aka terrorism) is justified when everything else has failed. \r\n\r\nThe film is set in the year 2020. The United States has ostensibly sunk into chaos caused by a civil war and the UK is run by a right-wing Christian-oriented, totalitarian elite that has stifled dissent and robbed the population of their democratic rights. Political opponents have been imprisoned or executed, police rule the streets after dark, and Chancellor Adam Sutler (John Hurt) is a pervasive presence on the government-controlled television screens. Beneath their protective faade, the government plants stories in the media and lies to the people about disasters which they themselves fostered to further limit political liberty and solidify control. What they do not count on, however, is a masked vigilante with a personal axe to grind. \r\n\r\nKnown only as V (Hugo Weaving), this mysterious renegade seeks revenge for his disfigurement that resulted from a fire during medical experiments when he was held in a detention center. The film allows us to see quite clearly that revolutionaries do not come from thin air but are created when their human dignity is violated. Performed with flair and poetry by Hugo Weaving, Vs goal is not only to get back at those involved in the experiments but, with the help of an aroused populace, to bring down the entire government. V is a superhero who fights for right and justice, yet, unlike superheroes of the past who had their enemies arrested, he is a killer without moral compunction. \r\n\r\nIt is easy to judge his behavior, yet faced with the circumstances of fascist oppression, we do not know how we would react. We hear his disembodied voice but never see his face, only the mask he wears, with its smirking grin forever painted on his face. It is the mask of Guy Fawkes, a Catholic zealot who was arrested and hanged for his part in a plot to blow up the parliament buildings on November 5, 1605. V seeks to fulfill Fawkes goal four hundred years later. \r\nV is a loner but recruits support in the person of Evey Hammond, an orphan who comes to believe in his cause after he rescues her from an assault by roaming police squads. \r\n\r\nAfter V saves her life, he transports her to a rooftop to witness the destruction of Old Bailey, London\'s central criminal court building, in an audacious scene complete with fireworks display and Tchaikovsky\'s \"1812 Overture.\" Natalie Portman turns in a powerful performance as Evey who does not become fully committed until she is forced to undergo a physical and emotional ordeal where her values are fully tested. Also strong is Stephen Rea as Finch, a Police Inspector who begins to question where his government is taking him.\r\n\r\nV for Vendetta brings up reminders of Abu Ghraib with its hooded prisoners and of Nazi concentration camps and Guantanamo with torture scenes and persecution of gays but it is not mired in relentless despair. The relationship between Evey and V becomes an unconventional romance and Vs swashbuckling swordplay mimicking the film, The Count of Monte Cristo, lightens the mood considerably. V for Vendetta is not high art nor is its political message always coherent, but it is a stylish thriller that is emotionally riveting whether or not you support its basic ideas. It is also a work of conviction that succeeds in challenging our minds and, in its stirring conclusion, reinvigorating our hope for humanity.\r\n\r\nGRADE: A-','efc3a9b9d7bec2836e91d058c539ef96',0,'','LNShlzqj',1,0,'',0,0,0);
INSERT INTO `phpbb_posts` VALUES (11665,2099,3,1,0,'69.120.114.47',1165033140,1,0,1,1,1,1,'wpqx','Bobby (2006) - Emilio Estevez','Emilio Estevez has had to struggle to earn his directorial credentials. He suffered through the embarassing Wisdom, the critically despised Men at Work (A film I always loved), and the direct to cable market for Rated-X. However with Rated X, he earned something yet unknown to him as a filmmaker, some credibility. The film was an interesting period piece, and got a great deal of favorable press. However it took a full six years for Estevez to be able to make another feature, and my god it was worth the wait. Ironically it was six years between Aronofsky\'s features and the disappointment there was almost unparalleled. Estevez realized what seems like a life\'s ambition with this film, a compelling character piece that ranks with the best of Altman, Anderson, and even that definitive star studded extravaganza, Edmund Goulding\'s Grand Hotel (playfully quoted and referenced here).\r\n\r\nEstevez is reaching higher than most filmmakers ever do, and certainly not a filmmaker with the limited success he has had so far. Yet Estevez has assembled an unbelievable cast, and rather than jump out with \"look who\'s in this\" instead we get everybody quickly. Estevez doesn\'t spring new movie stars on us far into the film, although not all are noticed in the first moments. We do however get a glimpse at nearly everyone who\'s going to be in the film during the opening false alarm fire call. It is clever expository, and the next day he takes us into the world of the hotel, much as if we were an employee overseeing operations. The camera moves around, a lot, and we\'re never too constricted. Rather than attempt an ambitious biopic on his title character, instead Estevez takes the focus on everyone around indirectly, or directly touched by his death, and sets the time frame at 24 hours (hence the fire drill). So rather than be ambitious with his life, instead he\'s ambitious with his final day. Allowing all footage of Kennedy to be archival and the main thrust being on everyone else.\r\n\r\nThe whole mixing live action with archival footage is nothing new for us, and the transitions aren\'t handled too poorly, but we\'re certainly aware of them. Like any film of the period though good use of the time\'s music is made, and all accurate I might add. I was also impressed with the reference to seeing Planet of the Apes on acid, a film released roughly three months before Kennedy was shot. Rarely I must say has any film with a predetermined outcome been so successful. Of course Kennedy get shot, we know this, and the only flaw I found in the film is the arbitrary shot of the assassin before hand. He walks into the hotel (brushing past Estevez the actor) and based on the look on his face we know this is the guy. I was a little disappointed at this, as it seemed ultra-obvious, but it was an attempt to be clever, and not altogether wasted, considering it does help to have at least one prior shot of the assailant.\r\n\r\nThe intertwining plot threads can be troublesome. However most of the subplots are endearing enough, or with good enough actors/performers to make you not worry about it. The run time on this film flew by, and although not all were as interesting as Freddie Rodriguez\'s Dodgers tickets or Demi Moore\'s alcohlic lounge singer (for which she did her own half way decent singing), but the actors make them work. Ashton Kutcher is good in small doses, and playing the drug dealing guru he works. His neophyte\'s however make their \"trip\" work because of some interesting camera tricks, that recalled some of the drug enduced scenes in Rated X. The point is, Estevez creates enough compasion for these characters so that when the shooting takes place, and several of these bystanders are hurt, you feel for them, as much if not more than Kennedy. After all Kennedy was only spoken of in this film, whereas the bystanding victims are the ones we\'ve really come to know through the film. Yet Estevez idealizes Kennedy to the point that we feel upon his death that someone potentially great has been taken, and we can\'t figure out why.\r\n\r\nGreat use of music, and although used in The Graduate (another film referenced) I\'d say that Simon and Garfunkel\'s \"Sounds of Silence\" was truly profound here, and absolutely perfect. The ending of the film is something I don\'t really want to discuss, but Estevez uses a speech of Kennedy\'s that\'s so absolutely perfect that you could never imagine Estevez the screenwriter ever able to come up with a more perfect epitaph in a million years of writing. At this point in time I came to one realization. That was that Bobby is the best film I\'ve seen this year.\r\n\r\nGrade A','39da3e1737ac11a23df59ab89c09f380',0,'','nQxJew6U',1,0,'',0,0,0),(11666,2099,3,1,0,'69.120.114.47',1165268400,1,0,1,1,1,1,'howardschumann(d)','Re: Bobby (2006) - Emilio Estevez','Here is my review. I think we agree on this one.\r\n\r\nBOBBY\r\n\r\nDirected by Emilio Estevez (2006)\r\n\r\nThere was a time in recent history when young people had leaders that they could look up to and who inspired them to think of politics as a potentially noble profession. Emilio Estevez film Bobby reminds us of one such man, Bobby Kennedy, who, with all his warts and contradictions, became the spokesman for a generation in revolt, and whose assassination left a gaping hole in our collective soul that has not been filled. Although many idealists supported Minnesota Senator Eugene McCarthy for President in 1968 because they felt that he came without the burdens of machine politics and a political dynasty that could be ruthless and self serving, most came to admire Bobby Kennedy for having the strength to learn from his mistakes and for his willingness to become the focus of a nations longing for greatness.\r\n\r\nBobby tells the fictionalized stories of 22 people who gathered at the Ambassador Hotel Ballroom on June 4, 1968, the night Kennedy was shot in the pantry after winning the Democratic primary and concluding his acceptance speech to a cheering crowd. Shown only through newsreel clips taken from his campaign for the presidency, we see only the Bobby that stirred the nation with his progressive speeches not the man who lent support to the FBI in wiretapping Dr. Martin Luther King, or the man who supported the CIA in its reckless assassination attempts on the life of Cuban Premier Fidel Castro. The film is unabashedly dedicated to celebrating Bobbys memory and contrasting what he stood for with the emptiness of our present leaders. \r\n\r\nEstevez has assembled an outstanding ensemble cast including William H. Macy as the Hotel Manager married to hairdresser Miriam (Sharon Stone) but having a clandestine affair with switchboard operator Angela (Heather Graham); Anthony Hopkins as John Casey, a retired doorman who engages his friend Nelson (Harry Belafonte) in chess and nostalgia; Freddy Rodriguez as Jose, a Mexican-American kitchen worker who is assigned to work a double shift and who gives his baseball tickets to Chef Laurence Fishburne as a gesture of racial harmony; Christian Slater as a racist kitchen manager who refuses to give his Latino employees time off to vote.\r\n\r\nOther engaging performances include Nick Cannon as an ambitious Kennedy worker, Martin Sheen and Helen Hunt as a contentious married couple, Elijah Wood and Lindsay Lohan as a couple waiting to be married so that he can avoid service in Vietnam, and there are many other (perhaps too many) subplots. In the silliest of the plots, two campaign workers try LSD provided by overwrought hippie drug dispenser Ashton Kutcher. While the mini-dramas sometimes become soap-operaish, at the end we realize the point being made - that all the little stories of our life are just stuff compared to the overall arc of history that we are participants in. \r\n\r\nThe main character of course is the one who could not be present, the one who was scheduled to be the heir apparent but was ruthlessly cut down by a murder that was neither random nor senseless but a frontal attack on our democracy and its citizens, passionately committed to a better society. While Bobby may be lacking in the finer points of cinema, it more than makes up for its shortcomings with its heart. As an accurate reflection of Kennedys total persona and of the political and social scene during the sixties, the film falls short, but as a well directed, star-studded package that can entertain as well as inform the current generation about a politician who, like Adlai Stevenson fifteen years earlier, spoke to the people as if they were old enough to vote, Bobby shines brightly.\r\n\r\nGRADE: A-','900cfdff84725143a3e3b75a9f0e492f',0,'','nG3apoBA',1,0,'',0,0,0),(11672,2101,3,1,0,'69.120.114.47',1162812000,1,0,1,1,1,1,'arsaib4','Allen Coulter\'s Hollywoodland (U.S. / 2006)','\r\n\r\n***possible spoilers***\r\n\r\nOn June 16, 1959, George Reeves, an ambitious second-rate actor who played the title role in the popular television series The Adventures of Superman (1952-58), was found dead in his Hollywood Hills home from a gunshot wound to the head. Reeves\'s career initially took off after he played a small part in Gone with the Wind (1939). But a string of failures followed until he got the starring role in So Proudly We Hail! (1943), which was a success. Due to W.W.II, Reeves didnt get the opportunity to revel in it, and by the time he got discharged from military service, things had changed. A few more thankless film parts later, Superman transpired, a role he took on reluctantly due to low pay and typecasting issues. But the series was a hit, though it prevented Reeves from taking on other major assignments. \r\n\r\nReeves reportedly suffered from chronic depression, often relying on painkillers and alcohol to ease the distress. These habits ultimately became the primary reason why his death was considered a suicide and nothing else by the LAPD. Most, including the members of the press, were satisfied with the judgment. But Reevess mother thought otherwise, and eventually hired private help in order to restart an investigation. Conspiracy theorists, who were even more front and center back then, brought up the actor\'s long-time affair with the wife of a resourceful studio executive who reportedly had mob ties.\r\n\r\nOne doesnt have to have an interest in Reeves or the indeterminate milieu he was part of in order to relish Hollywoodland, which attempts to revisit the incident and the few years that led up to it in a conscientious manner (though Reeves fans and loved ones might not agree). Ostensibly a noir, the film employs flashbacks to revive the \"actual\" events, while a mostly fictional story of a private investigator is the means to contemplate them. Louis Simo (Adrian Brody) is the fledgling PI hired by Reevess mother to discover what really occurred that night. Simo starts out as a Jake Gittes-type: anything for a buck, no matter how morally bankrupt. All he has to show for in his personal life is a failed marriage which produced a son, one who would most likely prefer the \"Man of Steal\" to be his dad.\r\n\r\nWe first meet Reeves (played by Ben Affleck in a carefully modulated performance, or, maybe, hes the perfect mediocre actor portraying another) just prior to his Superman years. At a posh Hollywood event, he eyes Toni Mannix (Diane Lane), a beautiful yet aging woman who turns out to be the newly-wed wife of Eddie Mannix (Bob Hoskins), a powerful MGM executive who himself isnt shy about companionship. The intense yet needful relationship which develops between Reeves and Toni is perhaps the most satisfying part of the film. Reeves senses that he might require Tonis help for career-related moves, yet at the same time he wants to stand on his own feet. On the other hand, Toni perhaps recognizes that at this point in her life she cant do much better this handsome and charming man, though one with limited potential. \r\n\r\nIncidentally, Hollywoodland is the feature directorial debut of TV alum Allen Coulter, who has helmed nearly a dozen episodes of both the The Sopranos (from 1999-2004) and Sex and the City (from 1999-2001). And as the film proceeds through a solid collection of narrative pieces, it does begin to resemble a made-for-cable drama (though one which would certainly win the Emmy in the \"Best motion picture made for television\" category). Despite the fact that the film is richly detailed in terms of character, narrative and milieu, Coulters aesthetic remains very low-key; unlike most contemporary noirs, the film doesnt flaunt its roots either structurally or stylistically, which is welcome relief to say the least. \r\n\r\nCoulter skillfully manages to keep both of the opposing storylines on a single track heading towards the same point. Even when a few of the characters start to overlap, the proceedings remain intelligible. Simos investigation quite literally uncovers a few previously unsuspected holes. The possible reasons of their existence are unraveled when we notice the toll the popular show has taken on Reeves. He eventually moves to New York and starts his own production company, which doesnt garner him the results he had in mind. His relationship with Toni starts to suffer, and reaches a nadir when he embarks on another with an opportunistic floozy, Leonore Lemmon (a deliciously trashy Robin Tunney), causing Toni to go into a deep depression, much to the chagrin of her sinister yet caring husband.\r\n\r\nAnd its Eddie Mannix through whom Hollywoodland glimpses the foreboding terrain of 1950s Hollywood brimming with vicious rivalries and cutthroat politics that affected many careers and lives (not that things have changed much). The off-the-cuff remarks that fly in Mannixs offices -- referring to the likes of the aforementioned Wind and The Last of the Mohicans (1920), etc. -- account for part of that. Credit goes to the filmmakers for acquiring the services of Jim Beaver, Reeves biographer. Hes responsible for many of the small, intricate details which the film incorporates well into its screenplay (written by newcomer Paul Bernbaum and reportedly polished by award-winning playwright Howard Korder). Having said that, the film wrongfully implies that the small part Reeves played in From Here to Eternity (1953) was cut due to the negative reaction from the audience already in love with \"Superman\" (director Fred Zinnemann has went on record to refute such claims). Also, the episodes of the hit show were shot in New York, not Los Angeles, which is what the film implies by omission, not to mention through the perpetual presence of Toni on the sets.\r\n\r\nWhile most of the acting accolades have gone to Ben Affleck, and rightfully so, Adrian Brody deserves high marks for keeping his character as interesting as possible. His role isnt a particularly great one to begin with, but it suffers from a redemptive arc which seems just as contrived as the moral rhetoric eventually spewing from his mouth. Though a couple of strong minor characters in the Reeves track -- his agent/manager Art Weissman (well played by Jeffrey DeMunn) and MGMs public relations head/Mannixs friend Howard Strickling (Joe Spano) who operates as if he was a long lost Corleone -- go a long way toward offsetting any deficiencies in the fictional one. \r\n\r\nDue to its subject matter Hollywoodland will inevitably be compared to the great films of the past and present that are similar in nature. Needless to say, it doesnt measure up very well with Polanskis chef doeuvre Chinatown (1974) in any category, but then, not many films do. While superior, Hansons L.A. Confidential (1997) and Schraders undervalued Auto Focus (2002) perhaps serve as better comparisons. Though Hollywoodland is certainly preferable to the likes of Mulholland Falls (1996), Wonderland (2002), and The Black Dahlia (2006).\r\n\r\nGrade: B\r\n_____________________\r\n\r\n*HOLLYWOODLAND premiered at the 2006 Venice Film Festival (in-competition); Ben Affleck garnered the Best Actor award for his performance\r\n\r\n*Now available on DVD (Focus). \r\n\r\nExtra features:\r\n\r\n-Commentary by Director Allen Coulter \r\n-Deleted Scenes\r\n-\"Recreating Old Hollywood\" featurette\r\n-\"Behind the Headlines\" featurette\r\n-\"Hollywood Then and Now\" featurette \r\n____________________\r\n\r\n[Edit]Added DVD info.','df39a0952a0327830a0c9dfb06839d30',0,'','q0eWUJop',1,0,'',0,0,0),(11673,2102,3,1,0,'69.120.114.47',1161674760,1,0,1,1,1,1,'arsaib4','Raoul Peck\'s Sometimes in April (U.S. / 2005)','\r\n\r\nWhile watching Sometimes in April, Raoul Pecks wholly engrossing look at the Rwandan genocide, I contemplated whether the film would\'ve garnered as much acclaim as 2004\'s Hotel Rwanda (which also dealt with the tragedy) if it had been released prior to it. Afterwards, it didnt take me long to come to the conclusion that no, it wouldn\'t have. And the reason behind it was quite simple: Sometimes in April was superior in just about every way possible. If that didnt quite make sense, then we first need to acknowledge that most of us love heroic tales of men fighting all odds to preserve peace and stability. While Hotel Rwanda was an important film about the genocide which in 100 days took the lives of nearly 1 million people, no doubt about it, it was also an \"action-filled\" saga mostly relegated to one man, which didnt adequately allow the film to analyze the situation at large, and from various viewpoints. Pecks film isnt perfect, but it gives us some time and space to think about the various pertinent issues at hand. As Film Comments Olaf Mller rightfully points out, \"[Sometime in April] approaches its subject less as a reconstruction than as a postmortem on political memory, carefully delineating the core contradiction and failures lying behind this humanitarian worst-case scenario.\"\r\n\r\nMost will be startled with the similarities the latter bears to the former as it establishes itself early on. Our protagonist, Augustin (Idris Elba), is a Hutu army officer who\'s ambivalent regarding how to deal with the problem -- which is Rwandan Patriotic Front (RPF), a renegade force mostly made up of Tutsi men who\'ve descended upon them in the past. (It must be mentioned that it was the westerners, in this case the Belgians, who created this disparity between the people under their rule.) But the blood-thirsty Hutus now simply want to take extreme measures by eliminating any Tutsi living among them, along with any moderate Hutus like Augustin. When Hutu president Habyarimanas plane is shot down, the army gets free rein to do whatever they want. Augustins wife (Carole Karemera) happens to be a Tutsi (as was Don Cheadle\'s wife in Hotel Rwanda), so that creates a dilemma for Augustin. But he ends up convincing his radio-jockey brother (Oris Erhuero), someone who\'d been spewing hate speeches, to take his wife to a safe compound, while him and his colleague hide from their former counterparts. Augustin also has a daughter attending a French Catholic school which is considered off-limits at first, but, as we later hear one character say, \"This was a war without any rules.\"\r\n\r\nPeck, who previously delved into Africa with his brilliant Lumumba (2000), expertly cuts back and forth between the events from 1994 and the ones from a decade later when Augustins brother is tried at the International Criminal Tribunal for Rwanda in Tanzania. But instead of making his characters the mouthpieces for moral righteousness, he allows us the opportunity to silently gaze at one of our diplomats trying to explain the difference between \"genocide\" and \"acts of genocide\" as the killings go on, while the rest of the world does nothing. Another great sequence involves a young woman at the pristine combines of the council detailing the brutality shes suffered at the hands of those she trusted. Thankfully, Peck doesn\'t parade a line of worried westerners like they were in Hotel Rwanda; and while he did create the character of a good-hearted American diplomat (Debra Winger), he perhaps did it to please the executives at HBO (films co-producer). The performances are rich and the milieu is as detailed as possible. There are some late dramatics in the film that it couldve done without, but other than Ghosts of Rwanda (2004), the astonishingly thorough PBS documentary on the subject, Sometimes in April is quite possibly the best visual account of this tragedy we have at this point.\r\n\r\n__________________________\r\n\r\n*The film premiered at the 2005 Berlin Film Festival (in-competition). Unfortunately, it went straight-to-DVD in the U.S. (Extra Features include: Commentary by Peck; a making-of featurette; a \"100 Days of Genocide\" timeline, etc.)','2b870c26b9a9d462662b10a1923da764',0,'','qfM8gFia',1,0,'',0,0,0),(11674,2102,3,1,0,'69.120.114.47',1161681900,1,0,1,1,1,1,'hengcs','Re: Raoul Peck\'s Sometimes in April (U.S. / 2005)','Quote arsaib4,\"And the reason behind it was quite simple: Sometimes in April was superior in just about every way possible. If that didnt quite make sense, then we first need to acknowledge that most of us love heroic tales of men fighting all odds to preserve peace and stability.\"\r\n\r\nHey, upon reading the issue about a hero, I would like to highlight a film I have just watched yesterday (the review to be written), that is, Soldiers of Salamina. Because I did not read too much about the film, I went in not knowing what to expect, and to be honest, the initial hour was just so so (esp. the present and the past narratives) ... BUT BUT BUT, the last 30 minutes or so saved the entire film ... it was VERY PHILOSOPHICAL, about writers and heroes ... do writers care? or do they just need a hero? ... and who is the \"real\" hero in life ... the essence of the entire film get pieced together in a way ...\r\n\r\nBack to this film, Sometimes In April, I think we have discussed it before. Let me think about it before I comment ... but one thing I like about Hotel Rwanda has to be the SONG ... \r\n\r\nWe forget to mention another film, which is also in this forum, Shooting Dogs (2005) (UK) ... also about Rwanda ... i recall trevor having watched it too ...','1fe1f0df88ce23e400405833fbea699e',0,'','fZr8AnvX',1,0,'',0,0,0),(11675,2102,3,1,0,'69.120.114.47',1162064160,1,0,1,1,1,1,'arsaib4','Re: Raoul Peck\'s Sometimes in April (U.S. / 2005)','I was extremely pleased to see that Sometimes in April was lauded by important members of the media (e.g. \"Film Comment\" editors) who were lucky enough to catch the film at film festivals. This film doesn\'t star a Don Cheadle, so it didn\'t make it to a theater near you.','8485f7be87641f3f9e0572bbbee13ae2',0,'','kc9Kx06v',1,0,'',0,0,0),(11678,2104,3,1,0,'69.120.114.47',1161601260,1,0,1,1,1,1,'justindeimen','DOA: Dead or Alive (2006)','Courtesy of www.moviexclusive.com/review/DOA/deadoralive.htm\r\n\r\nThe Xbox generation has apparently been conclusively unmasked as rabid fanboys of scantily clad, butt-kicking CGI babes with gravity defying mammary glands. First Tomb Raider captured the imaginations of young men unseen since the likes of Farrah Fawcetts swimsuit poster and the ensuing (cat)calls for a live-action movie was finally heeded. But unfortunately, the result was less than flattering and never really lived up to the fantasy instilled in many a mans mind. That could possibly be attributed to the handing over of the reins to people that had no idea, or any business trying to execute the sort of reverie that most of its fans wanted from Miss Croft and her famed ass-ets.\r\n\r\nNow the treatment of DOA: Dead or Alive is simple. Cute girls. Big breasts. Bouncing. Kung-fu tournament. The elements are also straightforward and are seemingly being well taken care of with self-acknowledged pop culture transposer, Paul W.S. Anderson of the Resident Evil movies as producer and Corey Yuen, topdog action choreographer as its principle director. You really know where the films loyalties lie within its racy jokes and risqu wardrobes.\r\n\r\nThe suitably no-fuss plot brings together voluptuous women (Jaime Pressley, Devon Aoki, Holly Valance, Sarah Carter) from different parts of the world, each with their own individual technical skill set in order to compete in a tournament held on a picturesque island controlled by the shadowy Dr Donovan (Eric Roberts) who has a nonsensical scheme worthy of Dick Dastardlys seal of approval.\r\n\r\nAs a strong suit, this adaptation translates flawlessly onto the screen, which is also perhaps its weakest point by some regards. The actresses, beautiful as they are, do not share the charisma they so obviously have and makes them no more interesting than their digitally rendered counterparts. Theres no pretense of campy fun as everyone takes themselves seriously, ironically bringing upon itself some cheeseball fun in the process. Along with strong shades of Kill Bill-esque scenarios and Mortal Kombats island tournament one-on-one battles (which Anderson directed), it also has a strong penchant for behind-closed-doors sort of suggestive teasing to keep the barn door raised just high enough for adolescents to crawl through with joysticks in hand.\r\n\r\nThe action sequences are stupendously shot with its mise en scne using bits and pieces from the preceding games and plays a part in the action, making it much more than just the scenery its performers routinely chew on. Often resembling the Sports Illustrated swimsuit editions photo-shoot gone catty, the pennant of victory is usually awarded to the fighter without much blood or gore. Its more concerned with the fluidity of its fighters, the torrent of body blows and the improbable athleticism of its female marionettes as wires carry them across rooms without factoring the weight of their costumes padding. Thats the angle the film has taken much like the games where the bouncy bits were ceaseless novelties that gradually started to become the franchises main focus. The males in this are understandably without any interesting insights as well, coming across as brutish, misogynistic letches that get their jaws inevitably handed to them in the apogee.\r\n\r\nMuch like the antipodal suggestion of its title, the trumpeted audacity of its concept will find itself being used repeatedly when its final box office results finally turn up at the end of its theatrical run. And whether the juvenile sexuality and blatantly glorified action theatrics polarises its fair share of advocates and its significant numbers of bellicose critics also seems unavoidable. But you can call me fanboy, for Im entirely ready to buy into its gleefully unapologetic jiggle extravaganza.\r\n\r\n3/5\r\n\r\n-------\r\n\r\nNow I know this isn\'t the type of movie that generally appeals to us but the sheer surprise I had with this movie experience left me wanting to share it. I guess it does pay to be cynical.','b82ec7d5800cd7a85bc42b85f2fc2024',0,'','T3Hzlxa4',1,0,'',0,0,0),(11679,2104,3,1,0,'69.120.114.47',1161602940,1,0,1,1,1,1,'hengcs','Re: DOA: Dead or Alive (2006)','somehow, the trailer and the title made me NOT want to watch it ... ha ha ha','5316280f5978574bcd364fd1974f802f',0,'','m8ek1TiF',1,0,'',0,0,0),(11680,2105,3,1,0,'69.120.114.47',1161229380,1,0,1,1,1,1,'A','Wild at Heart','This is a reply I posted to a member at a forum who didn\'t like the movie. Whe I noticed I had written something worthwhile I copied it onto our site.\r\n\r\nThe review the member quoted and to which I replied contained all of the lines I put in \"\"\r\n______________________________________________________\r\n\r\nQuote:\"No matter how inflated with esteem Lynch becomes, his art isn\'t so great that it transcends vicious, regressive, conservative meaning. His white working-class identification masquerades as chic nostalgia for fifties-era inhibition and repression. As Lula and Sailor wheel across the Southwest encountering gimpy prostitutes, odious mobsters and porn stars, they\'re haunted by images out of The Wizard of Oz. Lula and Sailor are trying to get back to the way things used to be; they envision a sentimental, Boy Scout, pop-music America. Lynch retreats into the isolation of fantasy and erotic immaturity where adults are unclean, lecherous monsters.\"\r\n\r\nLooked like this to me the first time, but nah Lynch is doing what he is always doing. \r\n\r\nThere is no \"vicious, regressive, conservative meaning\" in the film. What the film states is that it\'s hard to live in America if you are an ordinary person.\r\n\r\n\"As Lula and Sailor wheel across the Southwest encountering gimpy prostitutes, odious mobsters and porn stars, they\'re haunted by images out of The Wizard of Oz. Lula and Sailor are trying to get back to the way things used to be; they envision a sentimental, Boy Scout, pop-music America.\"\r\nYes, both are very damaged personalities haunted by the past, who try to flee into a fantasy world. And their idea of the American dream is probably shared by a lot of \"ordinary\" (adolescent) americans (a sentimental, Boy Scout, pop-music America).\r\n\r\nBut: \"Lynch retreats into the isolation of fantasy and erotic immaturity where adults are unclean, lecherous monsters.\"\r\n\r\nNope, Lynch doesn\'t \"retreat\" into this. The film is a fairy-tale (Wizard of Oz anyone), where the characters retreat into such a world (which is VERY similar to the one envisioned in Blue Velvet btw). Only under the \"disguise\" of a fairy-tale can Lynch add the Happy Ending to the film. But if you watch closely, the \"real\" part (and one could also say the movie) ends when Sailor walks away at the end (before he changes his mind).\r\nWhat I really love about the ending is that Lynch suceeds in adding to a depressive reality a renewed love ON FILM which is granted to the couple only ON FILM (and which perfectly expresses his view of the world). Thinking about our world, the relationship would end when Sailor walks (and it was doomed from the very beginning). \r\n\r\nLynch always likes his characters (even when they don\'t get away like the schizophrenic in Lost Highway) and keeps them in their own world. He doesn\'t impose himself on the characters, but on the film. This is what the best directors do. \r\nSee Kubrick as a prime example of this. In his films the acting is always top-notch (people who complain for example about the actors in \"2001\" didn\'t get the film). But he always leaves them as their own entities who are never a representation of himself in any way.','e605dc1ec3fde06239fabf415578b0db',0,'','ViZuNDFw',1,0,'',0,0,0),(11681,2106,3,1,0,'69.120.114.47',1155579060,1,0,1,1,1,1,'howardschumann(d)','Transformation: The Life and Legacy of Werner Erhard','TRANSFORMATION: THE LIFE AND LEGACY OF WERNER ERHARD\r\n\r\nDirected by Robyn Symons (2006)\r\n\r\n\"Nothing is stronger than an idea whose time has come\" - Victor Hugo\r\n\r\nBuilding from the momentum generated by the youth counter-culture in the sixties, the human potential movement burst upon the scene in the seventies and found its most vocal expression in a training known as est (derived from the Latin verb meaning \"to be). The training, created by Werner Erhard in 1971, promised to transform the quality of the lives of 200 to 250 participants in two weekends, spent in a hotel ballroom. People enrolled in est because they were looking for something they considered to be missing in their life, be it expansion, clarity, definition, or a new direction. What they received was much, much more - a multi-level introduction to self-realization and a new definition of reality that pioneered what is generally known as New Age Spirituality. \r\n\r\nShown at the Atlanta Film Festival, Transformation: The Life and Legacy of Werner Erhard, a documentary by two-time Emmy Award winner Robyn Symons looks at est and its creator, showing rare clips from inside the training as well as interviews with est graduates and staff members. Symons brings the story up-to-date, interviewing Werner, now aged 70, talking about the infamous \"60 Minutes\" broadcast of 1991, his reconciliation with his family thirteen years after he had abandoned them in his twenties, and his activities during the last fifteen years. Werner, considerably mellowed by the passing years, comes across as still dynamic, yet somewhat worn down. For those who participated in either the est training or est\'s successor, The Landmark Forum, the film will be a validation of the contribution that Werner has made and will restore some balance in the public mind as to how his legacy is perceived. Unfortunately however, because it is so limited in its time (62 minutes), and lacking in fuller exploration and depth of its topics, it may have limited appeal to those who know little or nothing about est or Werner\'s history. \r\n\r\nThe film traces the beginnings of est to an epiphany Werner had while driving over the Golden Gate Bridge in San Francisco when he realized that, contrary to all that he had been taught, the individual is responsible for the content and decisions that make up his or her life. While est in the seventies engendered a strong positive reaction from the majority of people who finished the course, it also became a source of controversy. Stories circulated about fainting, peeing, vomiting, and sobbing, painting a scene that, taken out of context, seemed frightening. However, the meaning and purpose of the training was lost in these horror stories and Werner\'s attempt to explain est to the media was singularly unsuccessful. It also spurred a negative reaction from the psychiatric and academic establishment, unwilling to believe that people could alter the quality of their life in the space of sixty hours, contrary to the deeply ingrained notion that progress had to take months, years, and even decades to be achieved. Consequently, est was labeled \"pop psychology\", \"brainwashing\", and \"a boot-camp approach to psychology\". \r\n\r\nWerner\'s reputation also took a hit in 1991 with an \"expose\" on \"60 Minutes\" in which associates and family members accused him of unsavory acts, all of which were later denied and subsequently recanted by the accusers. Werner, however, left the U.S. shortly thereafter, claiming on a Larry King broadcast that he was being targeted by Scientology. He has not returned in the last fifteen years and, though he has carried on his work abroad, has become largely forgotten in the U.S. While the film attempts to set the record straight about his life and about common misconceptions about the training - its language, physical environment, and whether or not people were prevented from going to the bathroom, the film does very little to clarify the methodology or the true purpose of the training. \r\n\r\nAlso some clips from inside the training, may actually reinforce the notion in some people\'s minds that trainees were being victimized. For example, the film shows a young woman being told by Werner that her experience in foster homes was simply her \"story\" and her \"racket\". In the context of a sixty-hour training, these labels are precisely defined and have a great deal of meaning, and were intended to allow the young woman to realize that her experiences, as painful as they were, do not have to define her life. Outside of that context, however, their meaning is not clear and Werner\'s tone comes across as being less than compassionate. Additionally, clips seem to be selected more for shock value than as instructional tools about the meaning and purpose of the training. \r\n\r\nWhile the film does add perspective to his recent trials, it has a \"stagy\" quality that doesn\'t truly capture the excitement and inspiration of those early days when it looked as if est could one day be incorporated into public education. While spokespersons for Werner in the film (mostly former est staff members) are articulate in supporting the goals of the training, the film could have benefited greatly from the comments of those who were outside the organization, perhaps insights from poets such as Allen Ginsberg or psychologists as to why the training was able to produce the kind of results it did in a short period of time. In spite of the film\'s shortcomings, however, it is an important first step in acquainting the world with the contributions of this man who dedicated his life to making others great. \r\n\r\nWords and phrases such as \"transformation\", \"empowerment\", \"making a difference\", \"getting it\" and so forth have become part of the vocabulary of the culture, even to the extent that they have been pre-empted by advertising agencies who seek to use them to make a profit. Werner did not write books or go out on the lecture circuit to great applause from true believers and functioned in an atmosphere of non-agreement and non-acceptance. His genius did not lie in any concepts or ideas but in the enormous contribution his programs made to people\'s lives (including my own). Although the training, now The Landmark Forum, in recent years has moved away from the fringes and closer to the mainstream, Werner\'s programs, in my view, are still extremely valuable tools to deepen our self-awareness and Symon\'s film Transformation is a fitting beginning to the acknowledgment of his true greatness. \r\n\r\nGRADE B+','d024be2ced98e8b5f896baa6172b56bc',0,'','01jDT5Re',1,0,'',0,0,0),(11682,2106,3,1,0,'69.120.114.47',1161127980,1,0,1,1,1,1,'A','Re: Transformation: The Life and Legacy of Werner Erhard','Hi Howard. I just found this very interesting discussion on FilmWurld.com and thought I\'d link it here. \r\nHaven\'t gone through any program myself. but what you discuss seems very \"rational\" (meaning, that\'s how the world functions, imho) to me. \r\n\r\nThe Link','ea356a92583ee76d74c340820c4b693f',0,'','q6xJlNby',1,0,'',0,0,0),(11683,2107,3,1,0,'69.120.114.47',1154231220,1,0,1,1,1,1,'wpqx','Scoop (2006) - Woody Allen','It seems in anticipation of criticism Woody Allen always has some comic relief ready. Before Match Point even came out he had Scoop in the can, and another project in development. Scoop is the comic antecedent to Allen\'s most serious film in over a decade. Critics seem to have grown overly tired of Allen\'s comedies, and some are still in contempt of his run of Small Time Crooks to Anything Else. However Allen is first and foremost a comedian, and when his jokes work, few people are funnier.\r\n\r\nScoop is possibly the best comedy Allen has made in years, it\'s certainly the funniest film I\'ve seen from him in a long time. Allen seems to be knowing his age for once. He\'s still Woody, but he isn\'t kidding himself into being a ladie\'s man anymore, and that could have been a little disturbing with Scarlett Johansen as his costar. Here Allen\'s role is similar to his turn in Anything Else, that of an aging old showbiz man with little social grace. Like Anything Else, and most of Allen\'s contemporary work, he does seem a little out of touch, especially with the under-40 crowd, but he gets over this quick. He plays off of his social buffoonary as a wonderfully comic sidekick that comes off as a supremely embarassing \"father\" to Johansen\'s Sandra.\r\n\r\nThe film is Allen all over, his humor, his pacing, his obsession with the upper crust, his high brow pop culture, and of course his nihlism. At times this film seems like it might be as bleak as Match Point was, but with a sense of humor that was desperately lacking in his last film. There were a few people in the theater (the senior citizens mostly) who found the film downright hilarious, which lets me know that Allen\'s target audience is his own age, and I just don\'t know if he\'s aware of that. The dialogue is Allen through and through, and lines are delivered quickly, and both Johansen and Allen come off as Allen archetypes. Johansen is an Allen heroine much in the vein of Diane Keaton and Mia Farrow, beautiful, but seemingly unaware of their own charm. The type is a little tired, and the greatest fault of the film is that it seems to be treading on previous ground. Allen hasn\'t said much new in a long time, but it seems to be wasting breath to complain about it now.\r\n\r\nThe change from New York to London is a welcome one in his last two films. It helped to set Match Point apart, which I believe Allen desperately needed last year. For Scoop though Allen gets to use London for his own comedy, much like he used LA in Annie Hall. In fact the films last great punchline comes from his inability to adapt to driving in the left lane. He does however generally feel out of place when out of New York, but like anyone else, I suppose he needs a vacation, and it offers him some new opportunities here. His next still untitled film is being shot in London as well, and will complete an unofficial trilogy and most likely conclude this late revival of sorts. The film does seem fresh, as Allen\'s comedies usually do coming after something serious. The murder mystery here plays on some of the amateur detective work of films like Curse of the Jade Scorpion, with a blend of Hitchcock ala Suspicion. An overall enjoyable Allen film, that ranks among his better films, but far from his best.\r\n\r\nGrade B','b123f620d2f857ee8f7429fb3d354adf',0,'','2a6Upej4',1,0,'',0,0,0),(11684,2107,3,1,0,'69.120.114.47',1159564140,1,0,1,1,1,1,'justindeimen','Re: Scoop (2006) - Woody Allen','Review:\r\n\r\nCourtesy of: MovieXclusive\r\n\r\nFree from the shackles of proving his worth to a new generation of moviegoers after his noir-drama (with the barest morsel of comedy) in Match Point, hes once again piercing through the British upper crust with a knife and serving it up on his new favourite dish in Scarlett Johansson. After showing that he still had the chops to please audiences and critics alike, he now takes on a lighter and more playful farce (that can often be the most difficult genre to pull off) with the same thematic alignments of Match Point.\r\n\r\nAdopting London as his new New York, Allen headlines his own comedic return as an anachronistic, uncouth vaudevillian magician, summing up his Sidney Waterman persona whos caught up way over his head. Hes foreign in more ways than one, when it comes to past that no one in the film really knows what to make of him. Still carrying out his old school awkwardness, hes now a self-parody thats more out of touch than misanthropic. Baffling to say the least.\r\n\r\nBut its an unwelcome transition of sorts for Allen. Its a self-aware Woody Allen practising his own shtick in front of the lenss reflection while taking himself out of the leading man equation where every plot thread used to run through his character. Now, hes just become a passing witness to his patented spiel. \r\n\r\nHes the Woody Allen that has lost his innocent, endearing neurosis and his refreshingly simplistic view of big city living. As his nervous tic becomes part of his character trait, he is still undoubtedly the biggest attraction in the film, even as his dire, recycled punchlines fall flat and his co-stars inattentively follow suit in an uneven throwback to 40s and 50s comedy fare. \r\n\r\nJohansson takes on Lois Lanes intrepidity with a side of enthusiasm instead of journalistic talent. Hiding her radiant beauty and killer body behind frappy sweaters and large glasses, she relinquishes class for a touch of sniveling naivet and an almost innocent triviality for sexual relations while not being adverse to using her feminine wiles to get what she wants. Hugh Jackman plays Hugh Jackman in Kate and Leopold, as in a handsome, charismatic Brit whos able to charm the pants of anyone. But as mentioned earlier, Woody Allen steals the show from anyone of these guys and unfortunately thats not really saying plenty. They are now part of the classic Woody Allen set-ups, but without any of the crutches that he used to afford his co-stars.\r\n\r\nAllen lingers on the comedy in scenes instead of propelling the story from point A to point B. Hes no longer interested in building on his characters and their ardent relationships as much as he is interested in feeding off the sparks from their flintlock interactions, just to find something funny out of anything. He directs through his script and more pointedly, the dialogue and actions by building on our morbid fascination with his self-destructive charm act. \r\n\r\nLondons a full fledged character here and its even more pronounced this time as its idiosyncrasies become an obstacle for the conspicuously coarse Allen and his young, nubile protagonist in the world of constipated British high society that only a New Yorker could have possibly envisioned. Even while saying nothing worth saying in particular, Allen shares an inside joke with the audience about generational gaps and aging, possibly about his uninteresting interest in the lives of younger, affluent people and the extreme moral ambiguities they face.\r\n\r\n2/5\r\n\r\n(Woody Allen is a comedy stalwart that can never be successfully imitated - not even by himself)','c3e6af6ae099accfdd3794079cd93189',0,'','EYepBM04',1,0,'',0,0,0),(11685,2108,3,1,0,'69.120.114.47',1158267960,1,0,1,1,1,1,'justindeimen','P.S. (2004)','Review:\r\n\r\n\r\nMovieXclusive\r\n\r\nArmed with a smile that breaks down the age barriers, Laura Linney plays Louise Harrington, a divorcee and the head admissions officer in Columbia University\'s School of Fine Arts. Louise carries herself with a nervous poise of simmering neurosis and unrelenting emotions, amidst an agitated yearning to rediscover the love she lost long ago in her youth. When opportunity plumps itself down in her office chair, she grabs on to it whilst donning the Mrs. Robinson vestures of orienting a young smooth talking, wisecracking applicant named F.Scott Fienstadt (Topher Grace).\r\n\r\nBut she is just a lonely woman, not a sexual predator. When she recognises the amazing similarities between F.Scott and her dead childhood sweetheart, she daringly and uncharacteristically pounces on the chance to rekindle that feeling of vitality and untainted romance with the boy who is not yet familiar with the painful details of adult relationships. As the coincidences between the past and present Scott pile up, inhibitions between them rile down.\r\n\r\nThe metaphysical head-trip premise disguises itself as something profound and needlessly stretches the elastic reality of odd parallelisms of pasts and futures, the young and not so young. In a rehash of her lovelorn role in Love Actually, Linney gives out the same unaffected quality of being the lone obstinate witness to her lifes incurably major highs and manic lows, crafting quite a well-worn niche for herself. In yet another rehash, Grace uses the same self-assured charms and fragile self-deprecating wit, synonymous with his familiar role as Eric Forman in televisions That 70s Show to similar effect in his role as the confident but underdeveloped role as Louises young paramour.\r\n\r\nP.S. straddles the very fine line between dialogue-driven drivel and absorbing extracts of latent epiphanies. The age gap is not the essential question mark that needs to be addressed. Its not even the ethical and professional quandaries they find themselves in. Its the why and how of their emotionally stunted relationship. Is it lust? Or perhaps just a spring fling? But they do cross the line and then some. And it was definitely an affair to remember, complete with the awkward first full-fledged, and brief sex scene followed by several moments of pert, furtive glances.\r\n\r\nWhile failing to reach the emotional climax of their staggered relationship, the film chooses to go off tangent to explore Louises constitutional makeup in its convoluted strains of unresolved, uninteresting middle-aged adults problems relating to family and friends. It is interested in the duality of things, the ambivalence of youth and of aging. As much as there are similarities between her 2 Scotts, there are also key differences between them. Just as there are when discerning the multitudes of supporting characters in the film and in Louise while she gradually discovers closure and explores new openings in her life.\r\n\r\nBirth gave us unnerving looks at lost love and the unacceptable quest to rediscover it, while in Prime, we see that happiness and sadness were part of lifes interchangeable glories. In contrast, P.S. gives off a light, slightly offhand bouquet of a floundering middle-aged woman desperately seeking an avenue for emotional growth which is well intentioned but turns out to be ultimately unsatisfying. \r\n\r\n** out of *****\r\n\r\n(An imprecise study of a female mid-life crisis that does not resonate the sort of poignancy and romanticism that it strives for)','426425a135080db3dc6f34df193081bf',0,'','Minkm7P1',1,0,'',0,0,0),(11686,2108,3,1,0,'69.120.114.47',1159165260,1,0,1,1,1,1,'bamboomedia1','Re: P.S. (2004)','I agree with most of your review. I really thought this movie was a stinker and I don\'t know if I would have even given it 2 stars.\r\n\r\nI went to movieXclusive. Is that your personal site? It\'s great. I was wondering why you always posted such long critiques. Everyone around here writes such in-depth reviews... i hope my simple yay or nay is sufficient.','f1d88f35b5ca7201a88b89bb70c8e9eb',0,'','p4tFKy2M',1,0,'',0,0,0),(11687,2108,3,1,0,'69.120.114.47',1159202760,1,0,1,1,1,1,'justindeimen','Re: P.S. (2004)','Hiya bamboo, thanks for visiting. Not mine, belongs to a friend but a great outlet for me to write about my thoughts on the more mainstream movies being released into local cinemas.\r\n\r\nNo obligation to write in depths as far as I can see. I just feel a weight being lifted off after a bit of extended exposition.','cf4777fcfd1cddda6e929da097981c46',0,'','6vsgbfL4',1,0,'',0,0,0),(11688,2109,3,1,0,'69.120.114.47',1157963400,1,0,1,1,1,1,'hengcs','The Devil Wears Prada (2006)','\r\n\r\nDirector: David Frankel\r\nCast: Merly Streep, Anne Hathaway\r\n\r\nThe official site\r\nsee\r\nhttp://www.devilwearspradamovie.com/\r\n\r\nSynopsis:\r\nA woman landed herself in a fashion magazine job which many would die for ... but she got a tough female boss ... how would things turn out ...\r\n\r\nMy thoughts ...\r\n\r\n-- I guess most people would agree that it is a film that might just get Meryl Streep nominated again in Oscar ... but she might/might not get it ... cos Helen Mirren (The Queen) might be a tough fight ... hee hee ... nonetheless, Merly Streep has the most number of interesting lines ... and the lines were very well delivered by her ... maybe we could compile a list of \"nasty lines\" (any takers?) ... ha ha ha ... also, the scene whereby Meryl Streep informed of her divorce with her husband, many audience would likely sympathize with her (despite her \"meanness\" earlier) ... if nothing else makes you like the film, then just go for the two actresses ... \r\n\r\nPS: some of you may go for the fashion too ...\r\n\r\n-- As usual, there are some nice food for thoughts in this film ... e.g., about choices in life, about career and family, etc ... I have to qualify that sometimes, the resolution in the film comes kind of easy ...\r\n\r\n-- If anything could be better ... I would say it is the predictable ending ... is it Hollywood? or is it the book which I have not read? ... why the ending has to be a \"happy/enlightening\" one ... ;PPP \r\n\r\nConclusion:\r\nRecommended ... as a commercial film ... esp. if you are upset with your boss (and thinks negatively of him/her ... ha ha ha) ...','0587cc2f96fb8f3477f630ec7879c952',0,'','Mc2WyBhn',1,0,'',0,0,0),(11689,2109,3,1,0,'69.120.114.47',1158897120,1,0,1,1,1,1,'smurfrevolt','Re: The Devil Wears Prada (2006)','I really liked Emily Blunt in the film.','bc4e180b2c4c069653fa6cd407b27ecb',0,'','ALM2ckRa',1,0,'',0,0,0),(11690,2109,3,1,0,'69.120.114.47',1158919800,1,0,1,1,1,1,'arsaib4','Re: The Devil Wears Prada (2006)','I haven\'t watched this movie yet, but I was impressed by Emily Blunt in the British film, My Summer of Love.','a4d52de5aec9823a98fabc6d9c470cbd',0,'','Dbop0rVf',1,0,'',0,0,0),(11691,2110,3,1,0,'69.120.114.47',1158871620,1,0,1,1,1,1,'justindeimen','The Night Listener (2006)','Review:\r\n\r\n\r\nCourtesy of www.moviexclusive.com/review/nightlistener/nightlistener.htm\r\n\r\nThe Night Listener finds itself being thrown to the wolves by a limp-wristed handling of its material (co-writer, Armistead Maupins best-selling novel) and dismal attempt to be far more intriguing than it actually is. Its a cautionary tale of lies and the stubborn urge to trust anyone that understands our insecurities. Robin Williams dons his paranoid, camp-free facade seen in One Hour Photo and Insomnia to a credible extent. Hes Gabriel Noone (No-one?), a gay raconteur for a NPR (National Public Radio) programme for the citys culture scene. As most storytellers do, he embellishes more than few details of his life. Not surprising, because Gabriel isnt the most interesting person as he finds an outlook for stories through the lives of those around him.\r\n\r\nReeling from the break-up with his partner, Jess (Bobby Cannavale), Gabriel goes into a deep funk only to be brought out of it by a deeply moving manuscript detailing the life of a young boy, Pete whos on deaths door as he loses his battle with AIDS after a traumatic life with parents that sexually abused and tormented him. Gabriels relationship with his young fan grows as they have detailed telephone conversations of their lives, and about the lives of those around them. In Petes case, his adoptive parent, Donna (Toni Collette) starts to create deep wells of suspicions that Gabriel just cant shake off.\r\n\r\nIts message is clear and very apt in our current culture of communication. We talk to people, especially those who we put a lot of stock into through a barrier of technology like telephones, instant messaging and e-mail. Do we still take things with a pinch of salt, or are our inhibitions thoroughly enamoured by our ability to hear what wed like to listen to? Being inspired by true events from Maupins novel, it is bolstered by the recent scandal involving James Frey and his public roasting by Oprah Winfrey about his autobiography on drug rehabilitation being based primarily on fiction.\r\n\r\nUnfortunately, the film suffers from its distinct measure of restraint. It drifts into an insignificant situational conundrum with no stakes involved while being a one-note malady that doesnt compel or deserve its actors raw emotional appeals for concern. While building on its baleful subject matter of HIV, sexual abuse and isolation, it dithers on its sombre, anti-climactic tone while depending unwisely on its underwhelming key characters in Gabriel and Donna. Not taking away anything from the performances, these characters did not hold up the twin castles of paranoia and dysfunction. But to its credit, its a well-paced story clocking in at about an hour and a half that does connect most of its dots. Its just not compelling enough to warrant more interest.\r\n\r\nIn a standout performance but by all means not an outstanding one, Collette gives a strange and unnerving look at hidden questions and readily available answers that begs more. While a long way from Williams melancholic radio host that lives by explicating, and his indelibly wrought smile of malcontent, Collette says much more than him by not saying and not showing anything at all. With Little Miss Sunshine opening in the same week, theres plenty of her to go around. Look for Sandra Oh in unfortunately yet another small and inconsequential role, just as in Hard Candy. \r\n\r\n\"Inspires a feeling of indifference in a token and otherwise unsatisfying mystery\"\r\n\r\n2/5','8c70847e3d26cb98d8f371045a6fee19',0,'','XoxRhK2A',1,0,'',0,0,0),(11692,2111,3,1,0,'69.120.114.47',1154970600,1,0,1,1,1,1,'justindeimen','Pretty Persuasion (2005)','\r\n\r\nReview:\r\n\r\nEvan Rachel Wood stars as Kimberly Joyce, an aspiring starlet gifted with an amazing intellect and killer sex appeal - all while being a high-school student in a private school. An apparent culmination of a broken home, a privileged lifestyle and a lack of parental boundaries, \"Pretty Persuasion\" maraudes as a satire that cuts right down to teenage sex issues, racism and media irresponsibility but its really just a drama with an unhealthy fixation on comedy and no particular place to direct its send-up at.\r\n\r\nArmed with an acumen for persuasion, Kimberly uses it on everyone, from her uncouth businessman father (James Woods) to her best friend, Brittany (Elisabeth Harnois). Lying and manipulation is second nature to her, she even manages to convince herself from time to time. Shes an anti-heroine, who youd never root for. Not even when you learn her motivations. She knows her beauty, although good-looking, is limited, and does not set her apart from the competition when it comes to auditions and screen roles. Kimberlys not the most popular girl either, as she dispenses insults and backhanded compliments with razor sharp proficiency but she is promiscuous, trading sexual favours for actual favours. Wary of her talents are her teachers and principal, as they appear malcontented at her strong and formidable disposition. \r\n\r\nUnfortunately, the English teacher, Percy Anderson (Ron Livingston) draws her ire when he punishes her and a new student, an immigrant Arab girl, Randa (Adi Schnall) who was unfairly reprimanded because of a defiant Kimberly. Randa sticks with Kimberly and Brittany, although uncomfortable with their licentious behaviour and oh-so insipid American ways, a true innocent to their immoral antics. At a slumber party, Kimberly schools them in order to enlist them in corroborating an accusation of sexual assault at the English teacher. They go along unwillingly, with the realisation of instant feminist heroism and increased exposure, in the case of Kimberly even if they lose. This incident sets off a media frenzy led by Emily Klein (Jane Krakowski), a lesbian reporter who finds herself in dangerous Sapphic territory with a master seductress in Kimberly. Allying herself with her, Emily sets out on a one-sided crusade against Percy.\r\n\r\nWhat it does well is its careful unwrapping of the truth behind Percys accusation. It keeps us in the dark on whether he is indeed guilty. Various instances of Percys behaviour with his wife (Selma Blair) and furtive looks at girls in the school make us question the validity of those claims.\r\n\r\nTheres a sense of irony in this film, when the filmmakers themselves make caricatures of the characters in the script. Its so conceited and self-aware that it lampoons everyone and everything, from the Columbine shootings to the war in Iraq. The high-schoolers are either presented as brain-dead but attractive or sex-obsessed losers, adding to their self-parody. Everyones a victim in this film and everyone is an object of comtempt. Just as Saved! (with another rising starlet in Jena Malone) did it heart and humour, this film did it with condescension and disrespect.\r\n\r\nDespite an uproariously hilarious portrayal by James Wood, in a role that you might think is actually James Wood as he is, its still a weak and offensive film that just does not know what it wants to be. Its social commentary gone the way of opine bashing. Shame, considering Rachel Evan Woods actually gives a great performance in this, even more impressive than in Thirteen. Undeniably, shes one to look to out for in the future.\r\n\r\n2 out of 5 stars\r\n\r\nJustin Deimen','db8b086cbcf80100411887080b4ec8c2',0,'','BNeQrMag',1,0,'',0,0,0),(11693,2111,3,1,0,'69.120.114.47',1154975820,1,0,1,1,1,1,'wpqx','Re: Pretty Persuasion (2005)','I\'ve heard generally bad things about this movie, but it still looks so damn appealing to me. I have it just haven\'t quite gotten around to watching it, I\'ll be sure to throw some comments in here when I do.','6e6cfbda6894481772c2849a1091f6fd',0,'','mvYbMnTS',1,0,'',0,0,0),(11694,2111,3,1,0,'69.120.114.47',1154977500,1,0,1,1,1,1,'justindeimen','Re: Pretty Persuasion (2005)','It did seems really appealing. It reminded me alot of Saved! cept that was better.\r\n\r\nIts comedy will generally please most but the drama in it will disappoint many others. Quite a half-assed attempt to be politically incorrect I have to say.','7cbe534707c95c16113bb25c982cba8c',0,'','l1fMvGSW',1,0,'',0,0,0),(11695,2111,3,1,0,'69.120.114.47',1154980920,1,0,1,1,1,1,'wpqx','Re: Pretty Persuasion (2005)','saved was too PC for my taste, could have gone a lot further','03f84960ee9742bd7cbb9ba0b390adf2',0,'','VnweB3P4',1,0,'',0,0,0),(11696,2111,3,1,0,'69.120.114.47',1154992560,1,0,1,1,1,1,'trevor826','Re: Pretty Persuasion (2005)','Re: Saved, I remember thinking \"what a film that could\'ve been\" instead of playing safe and turning into typical dross. It wouldn\'t have been so much of a let down but it started so well.\r\n\r\nCheers Trev.','a4cdd6e4ab625541a7505dac1babe4d1',0,'','oZm8egNi',1,0,'',0,0,0),(11697,2111,3,1,0,'69.120.114.47',1154994180,1,0,1,1,1,1,'justindeimen','Re: Pretty Persuasion (2005)','I didn\'t think Saved! was all that bad. It would have suffered if its carried more weight that it did. Heavy topic aside, it was supposed to be dealt with a heartfelt and deft comic touch with just a hint of absurdity.\r\n\r\nAbsurdity is very much a part of Pretty Persuasion, its just the wrong ingredient at the wrong time especially with its much maligned and a borderline maniacal drive to push some nihilist agenda concerning political correctness. It was just meant to be mean, with no substance or enlightened subtext beneath its layers of verisimilitude.','d0323a15ffa10f7893785d99dda44a3b',0,'','qGk2ynms',1,0,'',0,0,0),(11698,2111,3,1,0,'69.120.114.47',1156491360,1,0,1,1,1,1,'arsaib4','Re: Pretty Persuasion (2005)','I think you\'re review is pretty much on the mark, Justin. Pretty Persuasion really didn\'t know what it wanted to be. But the director did apparently believe that dinner-table cursing and references to lesbianism are quite transgressive. I felt bad for both Woods and Rachel Wood, who I\'m assuming took this project because it sounded promising on paper. \r\n\r\nIn comparison Saved was better, but it also ultimately betrayed its premise by trying to please everyone. Election is arguably the best high-school set satire/black comedy of recent years.','56dcdbb8b53832dd4ec1435c7d317a87',0,'','hNMpc3Ue',1,0,'',0,0,0),(11699,2111,3,1,0,'69.120.114.47',1156533000,1,0,1,1,1,1,'wpqx','Re: Pretty Persuasion (2005)','Agreed on the quality of Election, although I\'ve avoided many similar themed films so I can\'t vouch for how well it compares. Where\'s John Hughes when you need him?','f130b6abb5bfeab9a1cd08bd003d667c',0,'','ET2piZbD',1,0,'',0,0,0),(11700,2111,3,1,0,'69.120.114.47',1158001860,1,0,1,1,1,1,'wpqx','Re: Pretty Persuasion (2005)','Well I watched the film this weekend, and I must have to disagree with all of you. I found it extremely clever, witty, and well structured. Everything in this film has a purpose, and not a single line of dialogue or action is in it for no reason. Wood is great as I\'ve come to expect of her and she is equally evil and sympathetic. The film is full of parallels and repeating motifs. Shots repeat, scenes come full circle, and we\'re left in the dark enough to make things interesting as the plot unfolds. When this film came out I sensed that it might be a film that people just wouldn\'t quite know what to do with, and I think it is. Time will hopefully be good to this film, and I think it succeeds as a multi-layered social commentary.','12e99aed1062c4b5eb705423532df6dd',0,'','4YtPwN53',1,0,'',0,0,0),(11701,2112,3,1,0,'69.120.114.47',1157800800,1,0,1,1,1,1,'justindeimen','Pulse (2006)','Two things interested me about this film. I kind of knew what I was getting into even before watching it though. First it was a remake of \"Kairo\", which I love. And that it starred Veronica Mars\' Kristen Bell, who I also love.\r\n\r\n\r\nReview:\r\n\r\nwww.moviexclusive.com/review/pulse/pulse.htm\r\n\r\nThese American remakes of Asian horror can almost be classified as a subgenre, now that films such as Pulse have come full circle. Following the horror tropes left behind by the Poltergeist franchise but basing its fundamental premise on Kiyoshi Kurosawas exemplary 2001 cult hit \"Kairo\", it merges the prevalence of technology in our daily lives with the netherworlds relentless agenda of world dominationor something to that effect. Theres something really interesting about the inclusion of the afterlife in our fulsome technological pursuits, something quite profound even. But where Kairo tried to stymie a tidied explanation and aimed at a persuasive sense of lament and melancholy in a steadily paced atmosphere of dread and cultural isolation, Pulse loses that very provocative sentiment and goes straight for the kill.\r\n\r\nHorror master Wes Craven pens this update, situating students in a struggle to survive a sinister force using the advancement in cybernetics against them. Even White Noise and Fear Dot Com, in all their crapular glory had interesting premises behind them. Regrettably, Pulse joins the ranks of films with potentially creepy ideas that dont come into fruition. And for a film so entrenched in technological references, there seems to be plenty of illogical setups when using these equipments. Early shots include a deluge of students using mobile devices, text messaging each other while using their laptops, all to make a point - we use too much technology. All while the film reaches to the extremes in listing problems associated with online dependence. Wow. A virus attack sends more shivers down my spine than Pulse ever could.\r\n\r\nIt provokes technophobia when the film goes onboard a Luddite-esque, Y2K scare bandwagon by dramatically expositing the social (and physical) terrors of online and mobile communication. While Kairo slowly sucked the viewer in, and silently critiqued against technologys gradual predominance in our cultural attitudes, Pulse shouts it from the rafters while unimaginatively explicating its dangers even till the end. It voices out its concerns and caveats over online piracy, inter-personal relationships and the increasing accessibility of choosing instant messaging over face-to-face communication.\r\n\r\nThe director Jim Sonzero, a relative greenhorn to feature films, lacks the elegance in manipulation and the storytelling varnish of accomplished scare maestros. However, theres plenty of great art direction within his appealing cinematography that plays with shadows and lifeless hues, but unfortunately all within his painfully erratic edits between locales and characters.\r\n\r\nMattie Webber (Kristen Bell) is caught between the apocalyptic envisioning of the undeads invasion through the portals created by our wireless frequencies. Aided by Dexter McCarthy (Ian Somerhalder), they investigate the mystery in between short and unfulfilling experiences with malevolent screensavers and evil webcams. Bells effortless ease into terror and hysterics is spurred on by her incredible presence on screen. Although a step-down from her brilliant titular role in televisions Veronica Mars, it shows a fantastic ability to carry a less than stellar film on the back of her performance. She makes the trite dialogue seem smart and relevant, and more often than not brings a certain fascination to her character that the film does not really deserve.\r\n\r\nEven being a mere whisper of the terror that Kurosawa crafted with Kairo, this Hollywood teenage schlock-horror product manages to negate its deep-seated message of technology being an isolating presence. It becomes an extremely literal expletive that is derived from the originals abstract and disarmingly subjective theme. A real shame considering that we are already getting a dumb-downed version in this studio-directed PG film directed at weekend mallrats. Along with the videogaming-culture inspired Stay Alive opening this month, this could very well seem like a double feature in techno-horror cautionary tales. My recommendation would be to check out the DVDs when released, as cuts will be reinstated to the respective films. \r\n\r\n2/5','d8a00adfe0d86b0d1878276b5d2030a1',0,'','a5pbcows',1,0,'',0,0,0),(11702,2113,3,1,0,'69.120.114.47',1154434860,1,0,1,1,1,1,'justindeimen','Lady in the Water (2006)','I think the critics had a problem with it from a film theory point of view because it didn\'t build on the characters, often leaving them stereotypes to work with and unexplained backstories. You can\'t say that any of the characters have relevant depth. At least thats what I get when they say Shyamalan has no narrative cohesion which was arguably Sixth Sense\'s most notable point.\r\n\r\nBut from a perspective of a film-going experience, I can see see why I like it and why its advocates might have liked it as well. It is a bedtime story come to life which is why the overwrought scenes work. It\'s like something you might have daydreamed about after reading a fairy tale anthology. It\'s so visceral and in the moment for the greater part of the film, when you\'re on your toes to find out what he\'s going to pull out of his hat next. Maybe a witch? Perhaps a character reversal that was not hinted at? It does seem like a story he made on the fly which somehow made sense in the context of the tale.\r\n\r\nIt\'s also a beautiful picture that puts you right in the atmosphere of the apartment complex that it hardly departs from, imaginative angles and the intriguing dialogue is something I\'ve come to expect from his films. He\'s also tried out humour this time round with the critical inclusion of Paul Giamatti which I felt was its biggest asset. He manages to switch between drama and comedy with such ease that his character is rightly the centre of the entire film. \r\n\r\nI also don\'t see the big hullabaloo about Shyamalan casting himself as the future\'s intellectual saviour, he could have easily casted somebody else but its not like his acting ruined the film. He wasn\'t Sofia Coppola bad by any stretch of the imagination. It\'s a personal project for him, especially with the critic character\'s inclusion. It\'s an audible F**k You to those that can his films after Sixth Sense like they were the biggest creative flops ever made. If they failed to see some humour in that then they do deserve to get flipped off. Director\'s have egos, some have vast vanity projects, and people need to understand why thats interesting not insulting.\r\n\r\nI really do feel like watching the movie again, I would think it\'d be better the second time around. Like being told a bedtime story again and again or playing through an RPG again just because the glut of characters and mythos were so exciting the first time round.','745627f5c4fb35b3047c5b796eaf20a7',0,'','45lxKze2',1,0,'',0,0,0),(11703,2113,3,1,0,'69.120.114.47',1156957260,1,0,1,1,1,1,'trevor826','Re: Lady in the Water (2006)','Caught it last night and left the cinema having seen an enjoyable film. I think justindeimen has hit on several valid points in his comments for the film. I\'m glad M. Night Shyamalan hasn\'t made the same mistakes as directors like Peter Jackson, always thinking that their next project has to be bigger to be better or repeating their previous successes (which would have been the easy option for him). \r\n\r\nLady in the Water is a child friendly fantasy and an optimistic tale for anyone of any age.\r\n\r\nCheers Trev.','30515dbf62b55a16e08abb2c7ae44b44',0,'','CEnterGP',1,0,'',0,0,0),(11704,2113,3,1,0,'69.120.114.47',1156961760,1,0,1,1,1,1,'wpqx','Re: Lady in the Water (2006)','Indeed, I found it every enjoyable. I\'m not sure how it was marketed in the rest of the world, but a rather awful job of it was done here. Every preview was full of about ten shots of the creature and screaming. Thankfully I saw nothing until after the film, because I would have felt awfully duped. I was thinking of the similar fiasco when Heathers was released, and they were also trying to make it into some teen horror film when it is one of the supremely perfect black comedies of all time.\r\n\r\nI certainly found Lady in the Water an improvement over his last few efforts, but I believe the public outcry might twist his arm into making a more typical feature. However looking at the film it has nearly every element one would expect in one of his films. I just love the way that everything has its place and purpose in one of his films, and no matter how insignificant a detail might seem, it always ties into the big picture.\r\n\r\nOn another note though I wasn\'t overly impressed with Howard\'s performance here, but the supremely good Giamatti more than carried the weight of the film.','82d7d0c2b18907c22939836ac0a7cfda',0,'','xknDFGBi',1,0,'',0,0,0),(11705,2113,3,1,0,'69.120.114.47',1157542020,1,0,1,1,1,1,'MikLosk','Re: Lady in the Water (2006)','Fairy tale, you say??? It\'s pretentious boring delirium and nothing more. The worst movie I saw this year.','0b979194a5705f704a0c91e1d5d08780',0,'','c0EoBlD2',1,0,'',0,0,0),(11706,2114,3,1,0,'69.120.114.47',1135550940,1,0,1,1,1,1,'wpqx','King Kong (2005) - Peter Jackson','A waste of time? That\'s the first thing I thought when I heard Peter Jackson was remaking King Kong, one of the most hokey and overrated of all classic films. It was already remade once to disastrous results in 1976, and I figured the man behind some of the best films of the last 15 years was seriously wasting his time and talents on an adaptation. Then I heard something that began to change my mind, and that was that Naomi Watts was cast to play Ann Darrow. I make no attempt to hide the fact that I find Miss Watts the most beautiful woman on the planet and will probably see any movie good or bad she\'s in, sooner or later anyways. Then I heard that they weren\'t going to modernize the story, keeping it in 1933, and this touch wound up working quite well. With the team responsible for LOTR in tow, I figured this film couldn\'t be too bad. I\'m morally opposed to all remakes, but well I wasn\'t a fan of the original, so there was certainly room for improvement.\r\n\r\nThen came the reviews, and the top ten lists, and lets just say there are some fans of this film out there. I was shocked to find Roger Ebert, who basically dismissed all of the Rings trilogy included Kong in his year end top ten list. Now it appeared I needed to see this film, three hours or not. There were techincal marvels to behold, bold entertainment pieces, and lots of CGI which usually makes me cringe, however duty calls, and just as I\'ll have to see Brokeback Mountain, so too did I have to pay my respects to Kong.\r\n\r\nThe film is a classic three act story. Each section of the film divided into a nice hour long segment. There is an hour of exposition, leading up to the arrival, or rather running into, of Skull Island. Then the story takes another hour or so to explore the island, fight random prehistoric monsters, and set up the relationship between Kong and Ann. Finally we get Kong in New York and on Broadway, with the inevitable climb up the Empire State Building. Broken down like this Kong doesn\'t resemble one film but rather three nice little films. One of which is expository and a collection of details and observations about the time. \r\n\r\nThe first hour is possibly the slowest in terms of plot and excitement. Jackson is trying to get us to feel for these characters. Jack Black\'s Carl Denham is set up as the renegade auteur. A constant showman, straight from PT Barnum. Denham never misses an opportunity to profit, and is convinced he is the greatest thing to happen to himself. He is out for glory, and he is out for profit, not necessarily in that order. We find ourselves on his side, because he is on the run. It is his film that\'s going to be scrapped and sold for stock footage, it is him that\'s got a warrant out for his arrest, he is dead broke and on the run, with hardly a script, a crew, or even a good idea of where the hell he\'s heading. We feel for him because he is down and out. Just as we feel for Watts\' Ann. She is broke as is, due to the fact that it is the depression, and her vaudeville theater has just been shut down. Her only friend in town is leaving, and she is close to going into a peep show for money (a scene I desperately wish was included). Her and Carl seem to be a quick match, they need each other, but their possible connection and entanglement is bypassed really quickly.\r\n\r\nThe first film made numerous inferences to Kong being Denham\'s repressed sexual instinct, which is all but disregarded here. Kong is not the animal side of Denham, but rather his own seperate beast, which we\'ll explore later. The only character we don\'t get too much feeling for is Adrien Brody\'s Jack Driscoll, a writer very much admired by Ann. He shows up, quietly woos Ann, but we don\'t feel much of his pain, despite being conned into being stuck on a boat headed for a mysterious island never before seen by man. He is the only one really there against his own will, but as Denham says \"If you really loved the theater you would have jumped\". It is the instinct of Driscoll that keeps him on the boat, which winds up working in some way for him, because without it he wouldn\'t have met Ann.\r\n\r\nOn the boat we are introduced to several crew members. A touch military man, a foreign captain, and a somewhat pointless and stupid mysterious stowaway who happens to be a kleptomaniac. This is one character that I found completely useless to the story, and when the casualties were piling up on Skull Island, I really wanted his to be one of them. As a bit of a cheat we never really see what happens to him. Kong smashes the row boat with him in it, and he goes flying, but no body alive or dead is seen again, unless of course I missed something.\r\n\r\nThe hour on Skull Island is where the story really picks up. I must hand it to Jackson who got his start in comedy horror, the man has some idea of what it may take to make a scare. I found the natives cast on the Island to be among the creepiest \"savages\" yet captured on film. You truly were creeped out by them, and feared for the lives of those brave/stupid souls that wandered off the ship to go exploring. There is cut footage I\'m told, and the scene from the original of Ann attempting to scream on camera for Carl is cut from here, which might have come in handy here. Instead we are shown Kong only in brief glimpses. Of course hearing him before we see him.\r\n\r\nAnn is offered as a sacrifice, and I must say Kong has a nice taste in ladies. Her entrance into the world of Kong is one that we see can actually be a place for her. Kong is not going to kill her, as we quickly discover, partially based on the vaudeville talents of Ann, who discovers that falling down is the funniest thing to a 25 foot gorilla, not surprising to find him a fan of the low-low brow. It is this ability to make \"people\" laugh that saves Ann, and let\'s us get an early glimpse of Kong\'s heart. The fact that he beats the holy hell out of several dinosaurs for Ann is another clear indicator that he\'s out to prove himself. He\'s the King of this jungle, and in a touch taken straight from the original after killing one particular Tyrannosaurus, he checks its broken jaw to see if it moves.\r\n\r\nDuring Ann\'s havoc she gets in contact with some rather hideous insects, always something to make me squirm, and two centipedes that would probably make me defecate on myself if in contact with them. These may be the creepiest moments of the film, but the creatues encounterd in the bottom of the canyon by the rescue party are what really get you rolling. Giant spiders, huge bugs, and 50 foot worms with various different mouths looking like creatures from a Star Wars film. In this aspect Jackson has free reign to create monsters, far eclipsing the dinosaurs and bugs of the original. He gets some generally creepy moments here, and as admirable as stop motion may be, it is no match for what is accomplished here.\r\n\r\nIt is during Ann\'s rescue that the greatest emotional weight is weighed. Kong\'s capture is heartbreaking, truly. I probably would have cried if I had tear ducts. It is a startling moment, and one of great power that I would have expected from such \"Hollywood\" entertaiment. Here is where Ann goes from more than just some animal rights activist to a lover of Kong. She is more than just lashing out at their cruelty, she is weeping for her lover, the one person/thing that could truly protect her, keep her safe, and give her a home of her own. She has lost that as they capture him, and this once might warrior, who battled dinosaurs, giant bats, and anything else on this island was powerless against some chloroform. A truly touching moment.\r\n\r\nWe get a little reprisal on Manhattan. Kong gets to run amuck and I for one was quite pleased. Unlike in the original where any girl who wasn\'t Ann was killed by Kong, here he just seems to fling them aside, not necessarily killing them or eating them. Come to think of it Kong doesn\'t have a taste for human flesh, we never see him eat any person. In fact the only thing we really see him eat is a branch off a tree, making perhaps a reference to him being a vegetarian? Although he does bite the head off of a creature or two, not so much for the taste but for the kill. Once he finds Ann in Manhattan the two have a date, complete with ice skating in Central Park, a romantic evening alone for many couples. It is a sweet touch, and we see that the love these two have is mutual. Here is where we start to feel a little for Driscoll, who can\'t really compete with Kong. Sure he was brave/smart enough to rescue her from the island, but how can he be more masculine than a 25 foot gorilla that kills dinosaurs with his bare hands? Kong is the \"man\" that Ann needs, and Ann is the woman that they both want.\r\n\r\nI\'ll spare you much overanalyzing on the ending. It is kept relatively similar, including one cheesy line from the original, but it is what leads up to this that makes it superior. A truly fantastic achievement, and continuing a rather impressive run of films from Peter Jackson, who\'s making himself quite the bankable Hollywood player these days. Of course as always the film was shot entirely in New Zealand, so perhaps not as Hollywood as others might think.\r\n\r\nGrade A','a019ea141e5a74213cd211ad65788b30',0,'','pza087fv',1,0,'',0,0,0),(11707,2114,3,1,0,'69.120.114.47',1157105340,1,0,1,1,1,1,'jcdavies','Re: King Kong (2005) - Peter Jackson','Well, i\'m sorry but i just didn\'t last the distance with it. For me, it encapsulates everything that\'s wrong with Hollywood:\r\n\r\n-pointless remake of beloved classic \r\n-reliance on marketing hype \r\n-relentless roller-coaster pacing \r\n-uninspired compositional sense and use of shot-reverse shot \r\n-over-reliance on special effects and spectacular sets \r\n-macho bludgeoning into submission and obsession with size \r\n-needless rapid-fire editing \r\n-equally needless (often swirling, swooping, nausea-inducing) camera moves \r\n-multiple shots when one will do \r\n-showy, boastful style \r\n-insistent melodramatic score \r\n-waste of talent \r\n-over-use of close ups to milk emotions \r\n-racism alongside attempt at \"political correctness\" \r\n-wallowing in nastiness and violence \r\n-reference to classic book (or other artwork- see also Titanic) to demonstrate \"cultural sophistication\" \r\n-audience manipulation \r\n-dumb dialogue \r\n-shallow characterisation \r\n-pandering to teen mentality \r\n-heavy-handed sensationalism and self-glorification \r\n-relegation of genuine intelligence and soul behind \"technical advances\" \r\n-wasteful budget \r\n\r\nJackson showed promise with Heavenly Creatures and Fellowship of the Ring but the latter was marred by its relentless ending and here that\'s developed into an overwhelming fault. Such a juvenile effort; Jackson could do with growing up- and perhaps we could do with some female directors taking the reins till he and the rest of Hollywood does? The little boys have had their turn with the toys.\r\n\r\nPoor Naomi Watts (so wonderful in Mulholland Dr), stuck with such a monstrosity.','be580756bceed8a82ff5b6b2a95dbc2d',0,'','DeRglhQi',1,0,'',0,0,0),(11708,2114,3,1,0,'69.120.114.47',1157138880,1,0,1,1,1,1,'wpqx','Re: King Kong (2005) - Peter Jackson','I\'m amazed how much I wrote about the film, and I still stand by my favorable praise. Naomi Watts gave one of the best performances of last year. I should also add (or repeat) that I disliked the original version, found it horribly dated, clumsy, and overwrought with bad techinical limitations. I must say I was a little disappointed with the Heart of Darkness reference, but I geniunely thought the natives on Skull Island were generally creepy. Jackson\'s style has always been rather rapid, just watch Dead Alive, I\'ve gotten used to it. If someone is going to be part of the system and make mindless entertainment at least do it well, and I don\'t think anyone\'s doing it better than Jackson. He embodies all the good qualities of Spielberg without being overly kid friendly.','480ba12d77c43429cf1940095f723104',0,'','Lgr47uhK',1,0,'',0,0,0),(11709,2114,3,1,0,'69.120.114.47',1157181240,1,0,1,1,1,1,'arsaib4','Re: King Kong (2005) - Peter Jackson','I fall somewhere in the middle between wqpx and, as he currently known as, jcdavies, though I\'m leaning towards the latter. A couple of excellent points by him:\r\n\r\n\"-over-reliance on special effects and spectacular sets \r\n-macho bludgeoning into submission and obsession with size.\"\r\n\r\n[My old post]\r\n\r\nPrior to watching Peter Jacksons King Kong a couple of weeks ago, I had only seen the 1976 Kong by John Guillermin, and even that was quite a few years back on French television. Since then, however, Ive had the opportunity to catch the Merian C. Cooper & Ernest B. Schoedsacks 1933 original and also a few parts of the 1976 remake on TCM and AMC (Ill let you guess which played where). Anyway, whats quite remarkable about the original film is that it makes the most of its playing time of about 100 minutes: its screenplay is lean and to the point. Also, Willis OBriens \"visual effects\" were considered to be quite remarkable for that time and its not hard to see why. On the other hand, the first remake plays out like a genuine \"B\" film (not surprising considering that it was produced by Dino De Laurentiis) containing shoddy performances and nauseating special effects. Kongs behavior in this film is also oversexualized which is actually what sticks out more than anything else (no pun intended). The expression on his face while hes stroking and fondling Jessica Lange (lookin mighty fine, btw) with his finger is simply priceless. The behavior of our new Kong is comparably much more mature and gentlemanly. A friend blithely suggested that perhaps like many of our other \"leading men\" this year, Kong is gay, and wouldve preferred if the natives sacrificed Driscoll instead of Darrow. (No wonder Watts actually had to \"vaudeville\" him. I cant even imagine what the other Kongs wouldve done to her for their, and our, pleasure.)\r\n\r\n*The opening sequences certainly did provide a more than efficient background for the characters and the world they inhabited. But once the journey began, thats where Jackson was quite loose with the editing. Skull Island shouldve been reached in about, say, 45-50 mins., instead of the whole hour it took.\r\n\r\n*It was amusing to hear the man/nature monologues by first-mate Hayes. And that was because of my suspicion that perhaps Jackson recovered a few sound reels in Australia that Malick left behind after The Thin Red Line (1998). Even Howard Shore\'s score all of the sudden turned very familiar. Anyway, Jamie Bells Jimmy was on the receiving end, the only purpose he served. \r\n\r\n*Im not sure how to divide the credit between Andy Serkis and the technicians who handled the CGI motion-capture related with Kong. He is simply a magnificent creation. There wasnt a moment where he didnt look \"real.\"\r\n\r\n*The running with the Brontosauruses was a highlight, and one of the few moments where it wasnt clear what was about to happen next (and thats a good thing). A later sequence involving Kong and a couple of Tyrannosauruses was quite silly, though. I wasnt aware of the fact that Kong has watched a few \"Chop-Socky\" flicks in his lifetime.\r\n\r\n*One of the reason why I brought up the editing issue earlier is because it wouldve been a nice touch to spend some time with the characters on the way back from the Island. Jackson couldve utilized the time to depict the evolving relationship between Darrow and Driscoll. And what about the feelings Captain Englehorn had for the leading lady? Wasnt he the one who initially risked the lives of his men in order to save her? But then, I guess there\'s a reason why the film is titled what it is.\r\n\r\n*And does anyone care about the blondes who were picked up and thrown aside and the planes who probably crash-landed somewhere on someones rooftop? Nah, me neither. Last year it was Scorseses pretty boy, and now its Jackson himself (playing one of the gunners, just like what Cooper did in the original) who just might come crashin in. Hollywood is now literally invading your living-rooms so LOOKOUT!\r\n\r\nKing Kong had the potential to be a remarkable film, kind of like Titanic (1997), but Jacksons towering ambition, which did wonders for him in the Lord of the Rings trilogy (\'01-\'03), seems to have hurt him on this occasion. The film is a little too long, a little too loud, and a little too pleased with itself. LA Weekly\'s film-critic Scott Foundas said it best: \"Kong never misses an opportunity for ostentation. Its like the nouveau riche on the block who drives his Lamborghini to the corner store when walking would suffice.\" Having said that, it could be argued that it is far and above recent remakes like Frankenstein (1994) and Psycho (1998). Jackson has said that he wants to do a couple of smaller films at this point, and hopefully he\'ll stick to this plan.','28b96f743056a44954d5db0d4b8cc68b',0,'','a0eWu816',1,0,'',0,0,0),(11710,2114,3,1,0,'69.120.114.47',1157198040,1,0,1,1,1,1,'jcdavies','Re: King Kong (2005) - Peter Jackson','I love Naomi Watts- of course she was the best thing about the film- but i had one of my strongest physical, emotional and intellectual adverse reactions to a film; stronger than when i had to leave the cinema feeling nauseous with Amlie (and then i was in the front row). By half way i was already overwhelmed, in a state of shock, battered and barely coherent. Stop! Stop! Throw in the towel! Jackson wins in round 7 by knockout. For 1/2 hour after, I was literally slumped in my chair in a daze, still reeling + not knowing what had hit me. I may now have to be clamped with eyes held wide open a la Clockwork Orange for the next Jackson masterclass; the prospect of a rematch fills me with abject terror. I know how Frank Bruno felt having to meet Tyson again, or Frazier when pulverised by George Foreman. I\'m just a poor sensitive soul; i think a long period of recuperation, quietly knitting, is in order. Or whole days spent caressing the beautiful Tibetan cherry tree i encountered in a park this week. Oh, soft, kind, lovely cherry; beauty to Jackson\'s beast.\r\n\r\nPlease call me John- i have a vague recollection that\'s my name.','69d38e1e2c80722163aba77de5994942',0,'','5raJUyVK',1,0,'',0,0,0),(11711,2114,3,1,0,'69.120.114.47',1157217780,1,0,1,1,1,1,'wpqx','Re: King Kong (2005) - Peter Jackson','Well John I thought the film flew by, and had a genuinely warm and entertaining reaction to it. It would be nice to see Jackson scale it down (ala Heavenly Creatures or Forgotten Silver), but who knows? Personally I would have been pleased if Watts got an Oscar nomination for her work here, she was better than all but maybe Witherspoon last year, but how could the Academy resist some prime \"I want to win an Oscar\" perormance like Judi Dench in Mrs. Henderson Presents, especially considering Hoskins actually did a better job in the film. Likewise Theron had overtones of \"trying too hard to be important\" in North Country, the rest of the nominees on the other hand I felt were deserving (Huffman and Knightley).','349cf751b9134fa972c4b7b6a64fb290',0,'','gt15xTZr',1,0,'',0,0,0),(11712,2115,3,1,0,'69.120.114.47',1156800600,1,0,1,1,1,1,'howardschumann(d)','Eyes Wide Shut','EYES WIDE SHUT\r\n\r\nDirected by Stanley Kubrick (1999)\r\n\r\nBeautifully shot, impeccably acted, and consistently engrossing, Eyes Wide Shut is a fitting finale to the career of Stanley Kubrick. Taking us \"where the rainbow ends\", Eyes Wide Shut leads us through several days in the life of upper class New York Doctor Bill Harford (Tom Cruise) as he navigates through New York\'s sexual underground in a fit of jealousy. Based on Arthur Schnitzler\'s 1926 Traumnovelle (Dream Novella), it is a film without explanations and the viewer must decide what is real and what is fantasy. From the outset, it is clear that there is trouble in the Harford\'s nine-year old marriage, though it has not yet affected their eight-year old daughter Helena (Madison Eginton) who is eagerly looking forward to Christmas. \r\n\r\nThe first hint that something is not right is when Bill tells his wife Alice (Nicole Kidman) how great her hair looks without bothering to look at her. She does not say anything but her body language suggests that she is dissatisfied. The tension between them becomes crystallized during a party thrown by a wealthy acquaintance, Victor Ziegler (Sydney Pollack) in which she draws the attention of a charming Hungarian suitor and he is pursued by two attractive models. \"One of the charms of married life is that it makes deception a necessity for both parties,\'\' the suave Hungarian tells Alice. \r\n\r\nThe events lead afterwards to a discussion of marital fidelity. Upset over Bill\'s lack of jealousy, Alice, who has been smoking pot, recounts a fantasy she had about abandoning her family for a handsome naval officer she met at a resort hotel. Feeling that he has to prove his virility, Bill, in the vein of Scorcese\'s After Hours, undertakes a 48-hour odyssey through the dark side of New York looking for reassurance from a sexual partner. As in a recurring dream, at the moment before satisfaction is achieved - intruders, a cell phone, or a threat to his safety interrupts each experience. In his journey, he encounters the daughter of a deceased patient; a prostitute; the underage daughter of a costume salesman; a threatening group of homophobes, and a male hotel desk clerk who is turned on to him. \r\n\r\nThe piece de resistance, however, is an extravagantly staged costumed orgy at a swank Long Island mansion. Lured by the piano player Nick Nightingale (Todd Field) who interests Dr. Harford with a story of mysterious gigs he plays blindfolded, he is led through a medieval-looking forest to a black Mass for the rich and powerful in which everyone is masked and costumed. When the doctor is exposed as an intruder, he is in real danger until a stately woman who has given him prior warnings to leave, saves him from at the very least taking his clothes off (from what else we can only guess). \r\n\r\nAlthough Cruise as D. Harford is the centerpiece of the film, he shows little emotion. He is either looking bewildered or acting uncomfortably sincere but he is always a passive onlooker. One expects that at some point he will confront himself and grasp the meaning of what is taking place, but there are no epiphanies or realizations. It is only when Alice, perhaps suspecting that she has gone too far in her story telling, asks Bill what they will do now, do they drop their masks and come to terms with the realities of their relationship.\r\n\r\nEyes Wide Shut was Kubrick\'s final film and it is one of his best. Enhanced by an original score by Jocelyn Pook, darkly evocative piano music by Gyorgy Ligetti, and excerpts from Shostakovich, the film maintains its tension throughout and never lets us know where it is going. Although the mood suggests a decadent civilization careening out of control, Eyes Wide Shut ended up for me as a life-affirming experience. It challenges us not only to come to terms with our commitments in life but to better distinguish the difference between our thoughts and feelings and our true experience of ourselves and the people around us who give our life its meaning.\r\n\r\nGRADE: A-','d593b5d05349a336fc0ef99b3021e6ba',0,'','dSKGUi0e',1,0,'',0,0,0),(11713,2116,3,1,0,'69.120.114.47',1140535500,1,0,1,1,1,1,'hengcs','The New World (2005)','Pardon me for starting this new thread ...\r\nI thought it would be more readable ...','52e7cf2410ec2d571398d64c38f62194',0,'','TUjN9zLt',1,0,'',0,0,0),(11714,2116,3,1,0,'69.120.114.47',1140535560,1,0,1,1,1,1,'hengcs','Re: The New World (2005)','wpqx\r\n(1/27/06 12:15 pm)\r\n\r\nThe New World (2005)\r\n\r\nTerrence Mallick\'s new film is everything one might expect from him. The pacing is slow and hypnotic, shots last longer than most directors would bother with, and there is a lush atmosphere throughout. Apparently this film was cut 15 minutes by Mallick for it\'s widespread release, and no one seems to be able to tell. The film might not have the majestic sweep of the Thin Red Line, or the longing of Days of Heaven, but it has something else. There is a social current to this picture generally unseen in Mallick\'s other movies. And the acting is top notch, perhaps Collin Farrell can rebound from the nose dive he took in Alexander. Although for continuity purposes I wonder if John Smith had tattooes. I\'d like to get a full review of this, but it\'s been almost a week since I\'ve seen it.','a521f972573f3c46a161a21df3d5a37b',0,'','98NQtjkb',1,0,'',0,0,0),(11715,2116,3,1,0,'69.120.114.47',1140535740,1,0,1,1,1,1,'hengcs','Re: The New World (2005)','Johndav\r\n(1/27/06 3:36 pm)\r\n\r\nAnyway, i\'m looking forward to The New World. Malick\'s one of the good uns, intelligent, thoughtful + wide-ranging in his cultural interests, and there aren\'t nearly enough with those qualities.','6149e59158a36395c0a7f3bdf6555812',0,'','wPWymBlX',1,0,'',0,0,0),(11716,2116,3,1,0,'69.120.114.47',1140535920,1,0,1,1,1,1,'hengcs','Re: The New World (2005)','trevor826\r\n(2/10/06 4:41 am)\r\n\r\nForgot to say what I thought of \"The New World\", loved the overall feel, absolutely in awe of the way a 14/15 year old girl carried the film, loved the quiet narratives, almost like thoughts just suspended in mid air and some of the camera work was pure magic. The almost dreamlike state of innocence of the \"naturals\" as opposed to the stark ugliness and greed of the \"civilised\" white man worked well to define not just this particular story but colonialism altogether. Sweep in, seduce, corrupt and destroy, the death knell of the American Indian.\r\n\r\nDefinitely a big screen experience, I do remember reading somebody\'s comment that this is a film you go to experience and I\'d absolutely agree with that. \r\n\r\nApparently the version I saw was the 150 minute one but I\'d have no idea what the difference would be.\r\n\r\nCheers Trev.','01ad147eddce9ebb9c7421bd4197558b',0,'','nfMgdiXP',1,0,'',0,0,0),(11717,2116,3,1,0,'69.120.114.47',1140536040,1,0,1,1,1,1,'hengcs','Re: The New World (2005)','arsaib4\r\n(2/10/06 6:32 pm)\r\n\r\nGood points, Trev re: The New World. I thought the young girl was a lock to get a nomination but she didn\'t. Her transformation was much more complex than what we saw from the young girl in that film from New Zealand (I can\'t remember the title, sorry). Malick\'s film comes as close to a true art object as possible: on many occasions it feels like a video installation as I\'ve said before. But the sound is very important as well, not the dialogue, but the ambient, naturalistic sound. Films like The New World don\'t win awards, but they\'re around for a long, long time.','481f1a52a228fced8abaf4c66c944eba',0,'','J6xCrVRf',1,0,'',0,0,0),(11718,2116,3,1,0,'69.120.114.47',1140536100,1,0,1,1,1,1,'hengcs','Re: The New World (2005)','trevor826\r\n(2/11/06 5:05 am)\r\n\r\nRe: The New World\r\n\r\nHer transformation was much more complex than what we saw from the young girl in that film from New Zealand (I can\'t remember the title, sorry).\r\n\r\nVery true, while I was impressed with \"Whale Rider\" and Keisha Castle-Hughes in particular, there is no real comparison when compared to Q\'Orianka Kilcher in \"The New World\", one is acting, the other performing and drawing us into her world.\r\n\r\nMalick\'s film comes as close to a true art object as possible: on many occasions it feels like a video installation as I\'ve said before.\r\n\r\nSorry I must have missed your comments.\r\n\r\nBut the sound is very important as well, not the dialogue, but the ambient, naturalistic sound.\r\n\r\nAbsolutely, I don\'t know why I failed to mention it but it is a key element and is another reason why the film needs to be seen in a cinema. Home cinema systems are very good but you\'re confined in the amount of space you have.\r\n\r\n\"The New World\" did remind me of little elements from a couple of other films, \"Aguirre\", for obvious reasons and \"The Scent of Green Papaya\" for being drawn into and experiencing the atmosphere, immersing you into the world within the film. I think if you\'re looking for a purely plot/character driven narrative in these films then you\'ve missed the point. \"The New World\" is primarily art.\r\n\r\nCheers Trev','a50e384807955d7e04d027cd10f57fb2',0,'','fVcRBJ1o',1,0,'',0,0,0),(11719,2116,3,1,0,'69.120.114.47',1140536220,1,0,1,1,1,1,'hengcs','Re: The New World (2005)','wpqx\r\n(2/13/06 9:38 pm)\r\n\r\nRegarding the New World/Whale Rider comparisons, I am of a different mind. I was impressed with the acting in the New World, but I must say I was very impressed with Miss Hughes in Whale Rider, there were just a lot of little things I noticed in the film that made that performance stick for me, but I\'ll admit it isn\'t as fresh in my mind.','4871246466f4a8cc9f6b5879691d4b05',0,'','S19DbFy6',1,0,'',0,0,0),(11720,2116,3,1,0,'69.120.114.47',1147398720,1,0,1,1,1,1,'A','Re: The New World (2005)','Regarding the performances of the two female protagonists in Whale rider and The New World, I felt both were equally remarkable. The difference is in my opinion in the direction. I found \"Whale Rider\" full of clich, and Caro\'s direction very text-book like. As a whole, the film was thus a failure for me. \r\nIt\'s different with \"the new world\". Malick may be one of the best living directors, and though \"The New World\" often felt like a mess - as well as over-constructed, rushed, and clichd - it is not only an unforgettable experience, but imo also one of the best films of 2006. \r\nWhat i saw though, was sadly the shorter version. I don\'t know how much difference 15 minutes can make, but one thing was clear after the screening. The movie was way too short. Malick is known for shooting a lot of material, and I hope it was only commercial consideration that forced him to cut it down. As it is, almost all of the films shortcomings (which aren\'t few) were imo due to this compression. Hopefully the longer version \"eliminates\" some of them. \r\nBut despite all my criticism, a beautifully rich and complex film, that is a must see.\r\nWe\'ll probably meet again at the end of the year when writing about the highlights.','552ae0f6a586c8f8c66b26f65e3b7b65',0,'','MNdWckX3',1,0,'',0,0,0),(11721,2116,3,1,0,'69.120.114.47',1147729380,1,0,1,1,1,1,'howardschumann(d)','Re: The New World (2005)','THE NEW WORLD\r\n\r\nDirected by Terrence Malick (2005)\r\n\r\n\"Beauty is truth, truth beauty, -that is all ye know on Earth and all ye need to know\" - John Keats\r\n\r\nWith the newest Terrence Malick film, The New World, one looks for words that express a quality beyond beautiful, but there is no language. It is a work of stunning cinematic poetry whose appreciation, I believe, will grow with the passage of time, though it may never appeal to a wide audience. I came away from watching The New World with a feeling of having traveled back in time to a land of pristine beauty where the vigorous dream of establishing a sane civilization was still alive, if only for a brief moment. Malick attempts a retelling of that dream, specifically the vision of Pocahontas, the Indian princess, daughter of Algonquian Chief Powhatan, who imagined a country where both Europeans and Natives could live together without bloodshed. \r\n\r\nWhile actual events may have been somewhat different, Malick takes the story at face value, enhancing it only with voiceovers that allow us to enter the minds of the characters and feel what they are feeling. The film opens with the arrival of three English ships docking on the James River in Virginia in 1607 to the music of Wagner\'s Das Rheingold. It then describes the early days of the settlers, their near starvation, the clashes with the Indians, and the relationship between Pocahontas and Captain John Smith (Colin Farrell), a rebellious English explorer awaiting execution for insubordination. When the Indians capture Smith during an expedition to seek trading partners, he is threatened with death until Pocahontas saves him from execution by cradling his head in her lap and laying her head on his shoulders. \r\n\r\nThe Captain and Pocahontas become friends but the true nature of their relationship is clouded in myth and allegory. In the film, however, the Captain and his Indian princess express a love so intense that it suggests a state of grace. As Smith is drawn under her spell, he thinks about abandoning his life, to \"start over.... exchange this false life for a true one.... give up the name of Smith.\" But the thought is fleeting. After Pocahontas warns the Captain of an impending raid by her villagers, her father sends her into exile. The settlers take her hostage, however, convert her to Christianity (not shown in the film), and dress her in frumpy English attire, but she is content just being close to the man she loves. \r\n\r\nSmith leaves Pocahontas, however, to explore the Canadian North for a trade route to the Indies, instructing a friend to tell her after two months that he died at sea. His betrayal and their doomed love affair serve as a metaphor for the failure of the Natives and the Europeans to live together in harmony. The spark in Pocahontas\' life flickers but when a new settler, tobacco farmer John Rolfe (Christian Bale), arrives, he falls in love with her and asks her to marry him. She must now decide whether to follow her head and marry Rolfe or her heart, holding out for the return of Captain Smith. Her resolution of this dilemma takes her to England where the process of discovery takes on a new meaning. \r\n\r\nThe role of Pocahontas is played by fourteen-year old Q\'orianka Kilcher in a powerful and brilliant performance that never strikes a false note. While the director has excised most of the dialogue, little is required to convey the depth of feeling written on her soulful face or on the faces of Smith and Rolfe. \r\nWhoever Pocahontas really was, Malick depicts her as a spiritual force and the film achieves transcendence through her vision. The New World is a meditation on love and loss, innocence and betrayal, and the limitations of a society based on material progress. \r\n\r\nIt is also a lament for the civilization that might have been: a multi-ethnic society rich in spirituality and closeness to nature, inhabited by people with a sense of community, devoid of fear. For the English explorers, the landing at Jamestown and the colonizing of Virginia was a triumph. For Native Americans, it was the beginning of a tragedy that lasted for centuries and continues to the present day. Though The New World is a masterful film and thoroughly enchanting, our knowledge of what is to come leaves a lingering sadness.\r\n\r\nGRADE: A','22cea8ac39238f56280c2e7ef68df3d4',0,'','7ycWfbLN',1,0,'',0,0,0),(11722,2116,3,1,0,'69.120.114.47',1147842300,1,0,1,1,1,1,'arsaib4','Re: The New World (2005)','\"...one looks for words that express a quality beyond beautiful, but there is no language.\"\r\n\r\nThe same could be said about your review, Howard. I think it\'s one of your very best!','c7b1e5e78d95bd6feeeacca0ffca10a0',0,'','1GxjZpUy',1,0,'',0,0,0),(11723,2116,3,1,0,'69.120.114.47',1147845480,1,0,1,1,1,1,'hengcs','Re: The New World (2005)','I have wanted to watch it on a big screen.\r\nBut by the time I was free, it was gone ...\r\nsigh','adac206d664d77906c664433eb2ec89b',0,'','EHcoBamt',1,0,'',0,0,0),(11724,2116,3,1,0,'69.120.114.47',1147849380,1,0,1,1,1,1,'howardschumann(d)','Re: The New World (2005)','Thanks a lot . You are a very kind man.','50343f31ba88bf4c528f1c09ce0cfc0d',0,'','89AVy5aG',1,0,'',0,0,0),(11725,2116,3,1,0,'69.120.114.47',1153404840,1,0,1,1,1,1,'hengcs','Re: The New World (2005)','Film, Philosophy, and Terrence Malick\r\nBy David Sterritt \r\n\r\nwww.fipresci.org/undercur...malick.htm','ae730ad3d253269fac8a5b23826615e9',0,'','pES2U8Hw',1,0,'',0,0,0),(11726,2116,3,1,0,'69.120.114.47',1153419300,1,0,1,1,1,1,'howardschumann(d)','Re: The New World (2005)','That\'s a beautiful article. Thanks for posting it.\r\n\r\nHoward','044d71bc2bb67830f84de10056311c37',0,'','LeRxiFJ3',1,0,'',0,0,0),(11727,2116,3,1,0,'69.120.114.47',1153516380,1,0,1,1,1,1,'A','Re: The New World (2005)','Nice article.\r\nI especially like the characterization at the end, about Malick exploring the \"philosophical self\". As I studied Philosophy myself, i have to agree. \r\nActually most of my favorite films deals with spiritual/philosophical questions.','aabc109d967b1fe3025905a561a97491',0,'','3z91aNTB',1,0,'',0,0,0),(11728,2116,3,1,0,'69.120.114.47',1154941680,1,0,1,1,1,1,'jcdavies','Re: The New World (2005)','It\'s me, Johndav; had the same trouble as before getting through ezboard with previous user name, after move of address and internet service provider (now back in Wales).\r\n\r\nMalick\'s best i think. Kilcher is utterly believable as a character of innocence, strength, love, loyalty and integrity. The film starts more from the white settlers\' view- dreamlike quality of the beautiful new land- gradually turns so Kilcher/Pocahontas takes over and we see England through fresh eyes- the formalised gardens (compared with America\'s unspoiled nature), streets and buildings must have seemed extraordinary to her. A few shots of the rows of ordered shrubs and trees brought to mind Last Year at Marienbad. The music reminded at times of Dvorak\'s New World symphony + his compatriot Smetana\'s Vltava (both aptly, the latter describing the river). Not sure if this was the original score or parts of the Wagner Howard mentions. Rheingold has its watery connections too i notice.\r\n\r\nMalick loves his voice-overs, but Farrell\'s wasn\'t always clear, quite mumbled (as was the case in Thin Red Line, unless it\'s my hearing\'s not too good). \r\n\r\nA reasonably balanced view of the Native Americans i think-not sentimentalised, demonised, caricatured or too strongly idealised. Pristine nature under fire, natural beauty juxtaposed with conflict and violence, very different cultures and outlooks coming into contact- favourite Malick themes. Restless camera, gorgeous cinematography (as usual with TM films).\r\n\r\nCertainly among the best English-language films of the decade. And Kilcher was only 14?! We should have heard much more of her and this performance.','f7caba63de2090089295d7ef79aaf725',0,'','YKrpm482',1,0,'',0,0,0),(11729,2116,3,1,0,'69.120.114.47',1154950080,1,0,1,1,1,1,'trevor826','Re: The New World (2005)','Hi jcdavies, I thought you were going for the record of most user names, must be three or four by now, btw, what on earth are you doing back in Wales?\r\n\r\nBack to \'The New World\', for some reason and despite the fact that the theatrical release in the UK was the 150 minute version, the dvd release was the shorter cut! I can only assume that it was more cost effective to issue the same cut as in the US. \r\n\r\nHaving seen both now I can say you are definitely missing out with the short cut, they may be atmospheric shots but I felt robbed after watching the dvd.\r\n\r\nCheers Trev.','30c141101a5b188b6a929144b9557bb7',0,'','uPXkV8or',1,0,'',0,0,0),(11730,2116,3,1,0,'69.120.114.47',1154983800,1,0,1,1,1,1,'jcdavies','Re: The New World (2005)','Oh i didn\'t realise it was shortened- i did remember someone saying they\'d wanted the original film to go on longer so i didn\'t expect greater length. I really don\'t know why i\'ve had these problems with ezboard and not elsewhere every time there\'s a change of circumstance; now having to look after my dad.\r\n\r\nThe film didn\'t labour its points- even Pocahontas\' death was mentioned in passing, when it could have been milked for messages about Western disease doing in indigenous peoples etc.','267b175b7d1d05b8493055b500df00f2',0,'','rCNtxdUv',1,0,'',0,0,0),(11731,2116,3,1,0,'69.120.114.47',1154992740,1,0,1,1,1,1,'trevor826','Re: The New World (2005)','I have no doubt The New World will make my end of year top 10, it would take quite a few stunningly brilliant films to prevent it and somehow I really can\'t see that happening.\r\n\r\nI really would suggest to everyone to catch the longer cut in the cinema if at all possible.\r\n\r\nCheers Trev.','eab97763dd94404a1c005fe61b129813',0,'','zDKHW4ws',1,0,'',0,0,0),(11732,2116,3,1,0,'69.120.114.47',1155174240,1,0,1,1,1,1,'arsaib4','Re: The New World (2005)','\"It\'s me, Johndav; had the same trouble as before getting through ezboard with previous user name...\"\r\n\r\nDid you try to have them e-mail the old password to you. Perhaps you don\'t have that e-mail account anymore. Anyway, it\'s good to see you here again.','4b13d5283801b4a847258712fea099b7',0,'','aTBeW3A5',1,0,'',0,0,0),(11733,2116,3,1,0,'69.120.114.47',1155174720,1,0,1,1,1,1,'jcdavies','Re: The New World (2005)','Thanks. No, i\'ve got a new email, so got stuck- and not for the first time. If it ever happens again i\'ll adopt a decent disguise here!','f7dd044a67a073ac8867e1329b9ec75f',0,'','7X2Rwkq4',1,0,'',0,0,0),(11734,2116,3,1,0,'69.120.114.47',1156388880,1,0,1,1,1,1,'arsaib4','Re: The New World (2005)','\"And Kilcher was only 14?! We should have heard much more of her and this performance. \"\r\n\r\nYeah, she was brilliant wasn\'t she -- Kilcher did get a few awards but nothing major. As for the music, which you also brought up, it was Wagner\'s \"Das Rheingold\" in the early stages of arrival, but then Malick employed Mozart\'s \"Piano Concerto No. 23\" for the romantic passages.\r\n\r\n\"A reasonably balanced view of the Native Americans i think-not sentimentalised, demonised, caricatured or too strongly idealised. \"\r\n\r\nVery true. No wonder people from various Native American communities wanted to be a part of this project.','5515bff3b9cf43d445599cc9a0e5c3bd',0,'','ZLAo5Faf',1,0,'',0,0,0),(11735,2117,3,1,0,'69.120.114.47',1136793720,1,0,1,1,1,1,'arsaib4','Geller & Goldfine\'s Ballets Russes (U.S. / 2005)','\r\n\r\nBallets Russes is a fascinating and highly informative documentary about the Russian dance troupes that revolutionized the dance art form throughout the world for much of the twentieth century. By incorporating candid interviews with astonishingly high quality archival footage, filmmakers Daniel Geller and Dayna Goldfine meticulously chart the ups and downs of the company which was founded in Paris by Sergei Diaghilev in 1909, and in its early days was simply known as \"the Ballet Russe.\" After Diaghilev passed away in 1929, one of his brilliant dance choreographers, Leonid Massine, decided to leave in order to form his own company, \"the Ballet Russe of Monte Carlo.\" The original outfit, now under the control of a tyrannical Colonel Wassily de Basil, ended up hiring Massines former counterpart, George Balanchine, to organize their numbers which only intensified the rivalry. But the unstable political climate in Europe ultimately caused them to come together and leave for the U.S. And during much of the 1940s, both companies, carrying a plethora of teenage performers, simply toured the country in a train, visiting the smallest of towns and arenas because of the love they had for their art. \r\n\r\nWhile Ballets Russes isnt as formally innovative and remarkable a dance documentary as Claire Denis Vers Mathilde (2005), its strength are the group of people, all former performers, the filmmakers have assembled. Now in their 70s, 80s and 90s, the dancers -- including the likes of Dame Alicia Markova, Frederic Franklin, Mia Slavenska, Irina Baronova and Tatiana Riabouchinska (\"Baby Ballerinas\"), Yvonne Chouteau (a Native American dancer), etc. -- vividly recall the rivalries (some were not only lured away by competing dance firms, but also by Hollywood), the time spent on the road, the socio-political upheavals that formed them. What\'s quite amazing is that they all possess winning personalities, and they don\'t regret any of their decisions. The Russians were never able to perform in their homeland, and after they left because of the revolution, most of them havent gone back. (Many earn a meager living elsewhere by teaching dance even though they should be considered national treasures). All the performers have paid a price but theyre proud of their accomplishments, as they should be.\r\n\r\n_______________________\r\n\r\n*BALLETS RUSSES will be available on DVD in the U.S. on Sep 12th (Zeitgeist)\r\n\r\n*DVD SPECIAL FEATURES\r\n\r\n- An hour-long, four-part series of additional behind-the-scenes, performance, rehearsal and interview footage with Ballets Russes dancers.\r\n- Rare archival footage, including excerpts of classic Ballets Russes performances of \"Swan Lake,\" \"Giselle\" and others.\r\n- 12-page booklet including liner notes by New York Times dance writer - Jack Anderson and production notes by the filmmakers.\r\n______________________\r\n\r\n[Edit]Added DVD info.','5c4dfceac302ff2ab11819055937ad28',0,'','HLh7Q3vU',1,0,'',0,0,0),(11736,2118,3,1,0,'69.120.114.47',1156182540,1,0,1,1,1,1,'justindeimen','Snakes on a Plane (2006)','\r\n\r\nReview:\r\n\r\nwww.moviexclusive.com/review/snakesonaplane/snakesonaplane.htm\r\n\r\nIts hard to describe who exactly is the bigger star in Snakes on a Plane, the CGI snakes or Samuel L. Jackson. The immortal quote in this film is a parody of the man and his roles throughout the years. Samuel L. Jackson is the definitive cultural hero of the MTV generation with his badass swagger, his cocksure disregard of the establishment and cutting quips as he walks onto a scene like he owns the damn movie. Hes exactly the sort of larger-than-life individual youd want to associate this sort of film with if you were a movie studio executive.\r\n\r\nThis truly is exemplary pulp fiction gone wild and is not a film for anyone expecting a transcendent movie experience. The shocks and thrills are instinctually predictable and extemporaneous with no meaningful introspective about gripping terror or politics. Anyone who attempts to draw comparisons to terrorism would be really off the mark and disrespectful in spite of recent events.\r\n\r\nSuspension of belief is obviously crucial to the enjoyment of Snakes on a Plane. Its a phenomenon that lives in the moment as a product of our generations cultural zeitgeist thats (still being) driven by hype due to its raging online fan ethos and a generally high regard for escapist fare. With the premise that launched a cross-media publicity campaign demonstrating the power of fandom, it has no doubt spawned a PR legacy laying the groundwork for more of such marketing strategies to come. When all is said and done, that is the true phenomenon.\r\n\r\nThere appeared to be an urge to build this movie around the mania and hysterics of fan-written ideas that seem like they were drawn from a hat to form its plot structure. Many of the scenes felt tacked on and tedious. The editing is just that haphazard, and skips from passenger to passenger indiscriminately as fangs maul them. It practically directs itself, no thanks to David R. Ellis. Possibly its original director, Ronnie Yu, might have brought something extra to this project aside from just piling on scenarios upon scenarios of hurt without stringing them together.\r\n\r\nCaught with its pants down halfway between satire and action, its not quite the thrill it should have been and its also not an out-and-out laugh riot. In all respects, once the creative juices run dry, so does the initial frisson. When it first gets into its groove, waves after waves of no holds barred, cringe inducing and politically incorrect scenes set the film alight with exhilaration. After awhile though, it all just goes steadily downhill.\r\n\r\nWhat about the rest of the film? Well, Samuel L. Jackson plays Samuel L. Jackson who in turn plays FBI agent Neville Flynn. He has to escort a key witness to a criminal prosecution. But blah, blah and blah! Its just a means-to-an-end plot of which the mechanics are unimportant and is just plain filler for its main attraction the plane inexplicably filled with countless species of snakes that have been let loose. The kaleidoscope of cardboard, self-mocking characters/passengers are just fodder to the slithering menaces. Computerised snakes and their exaggeratedly loud hisses are not inherently scary but still manage to have more personality in its cartoonish facial (yes, facial!) expression than we ever get from the entire secondary cast, which is basically everyone else aside from the incomparable Jackson.\r\n\r\nPerhaps its biggest failing is that its publicity created a catch-22 of sorts when its blockbuster appeal became too much of a success but also an encumbrance to pull off the particular B-grade ideal aimed. In the end, it turns out wholly disingenuous and manufactured and far from hiss-terical. Embracing the spirit of satire is one thing but when youre in on the joke while making it something so blatantly kitsch, the self-awareness just gets in the way of the fun.\r\n\r\nAs the preconceived excitement of mixing 2 rampant phobias in snakes and planes end up wearing the novelty paper-thin, its early hype contributed to its own downfall. Its the material being led around by the hype rather than the hype being wagged on by the material. Ludicrous in its execution as it was in its conception, the publicity machine in overdrive will still bring in droves. Its the kind of movie that offers no surprises and youd know if it is worth your dollar from an initial gut feeling, before even hearing any sort of feedback. No matter whats said here or anywhere else, this movie will draw you into the cinemas. Snakes on a Plane is not an absolute mess. Its farcical camp entertainment and promotional stunts will live on for years and in that respect, it is untouchable. However as much as it tries, its simply does not live up its own monster hype, no movie can. \r\n\r\n3/5','f2590ef2997e93402978dd15bd08a1fa',0,'','GEkL0xQj',1,0,'',0,0,0),(11737,2118,3,1,0,'69.120.114.47',1156203060,1,0,1,1,1,1,'jcdavies','Re: Snakes on a Plane (2006)','While many misguided critics will inevitably dismiss Snakes on a Plane as overhyped camp juvenile kitsch for the filmgoing masses, it is in fact not only a sly satire on bombastic disaster movies, but also a subversive, acute, astute, piercing and profound meditation covering a range of sensitive issues: 9/11, \"the enemy within\", Satanism, lynch-mob hysteria, racism, the environmental drawbacks of air travel (alongside the transporting of wildlife and wider tampering with nature), the recent disastrous failings of the FBI and other intelligence agencies, absurd and ultimately self-defeating Western definitions of \"terrorism\" and the \"war on terror\", corporate hypocrisy, the malicious influence of the internet (witness the crafty insertion of expectant website dialogue!), Hollywood\'s relentless publicity machine, and public gullibility in the age of mass media, rampant conspiracy theories and Dan Brown\'s infamous The Da Vinci Code.','c13c0564b4ed3b026758dec98773b850',0,'','yAN2fUqh',1,0,'',0,0,0),(11738,2118,3,1,0,'69.120.114.47',1156205700,1,0,1,1,1,1,'trevor826','Re: Snakes on a Plane (2006)','I haven\'t followed any of the hype but just went to see it on the basis that it\'s a really stupid name, Samuel L Jackson is usually entertaining (if more than a little typecast) and the local newspaper had a free tickets offer.\r\n\r\nAs it is four of us went and we all had a great time wallowing in the trashy cheese of the whole venture. \r\n\r\nI was surprised they even managed to get the project off the ground (sic) with all the recent troubles but thankfully there is not one minute of this film that takes itself seriously. The only thing missing was a guitar playing Nun. \r\n\r\nI can imagine this doing far better than the majority of the bloated so called block busters and would recommend it as a great no-brainer, a real dumbass popcorn flick that knows its limitations and knows its audience.\r\n\r\nI had free tickets but if I was in the mood, I\'d happily pay to see it. \r\n\r\nCheers Trev.','c181a928c12f6b0db6481e2c5cd83fc5',0,'','t2jrB3bm',1,0,'',0,0,0),(11739,2118,3,1,0,'69.120.114.47',1156213500,1,0,1,1,1,1,'arsaib4','Re: Snakes on a Plane (2006)','I must say I\'m intrigued by the fact that you, Justindeiman, think that it is meaningless B-grade junk, while you, John, consider it a piercing satire. (Trevor seems to be somewhere in the middle?).\r\n\r\nI think I have some form of Herpetophobia, otherwise I would have gone to see it.','27cc8e20afd63008b8c0f217c0d4d1a0',0,'','hqTrzK0g',1,0,'',0,0,0),(11740,2118,3,1,0,'69.120.114.47',1156221960,1,0,1,1,1,1,'hengcs','Re: Snakes on a Plane (2006)','hey justin, \r\ni guess u were at the preview for this film yesterday\r\nand i was at Lemming ...\r\n\r\nare you watching Lemming today?\r\ni heard that there is another preview ...','0a1df521d34a4ca83acfff89a1848f94',0,'','51vTRCpb',1,0,'',0,0,0),(11741,2118,3,1,0,'69.120.114.47',1156241040,1,0,1,1,1,1,'justindeimen','Re: Snakes on a Plane (2006)','Quote:I must say I\'m intrigued by the fact that you, Justindeiman, think that it is meaningless B-grade junk, while you, John, consider it a piercing satire. (Trevor seems to be somewhere in the middle?).\r\n\r\nI hardly found it junk. I went into the film fully aware of the tongue-in-cheek nature of the film. My main gripe is that it just wasn\'t all that good. It felt like a punchline being stretched too long. Like I mentioned in the review, the direction leaves much to be desired. Perhaps something more cohesive would have been beneficial to it? I do think Ronnie Yu who was originally slated to direct would have done much better than Ellis did.\r\n\r\nheng, actually mine\'s on Thurs.','5e14fb5fea4b93a7bf39294a607fdff6',0,'','8zgAUCmR',1,0,'',0,0,0),(11742,2118,3,1,0,'69.120.114.47',1156287120,1,0,1,1,1,1,'jcdavies','Re: Snakes on a Plane (2006)','Er, yes, well, i\'m sure some future university film student thesis can be built on its sociological content + piercing satirical qualities, but especially since i\'ve not seen it, i\'m not clamouring for one. Oops, sorry, everyone. But it does sound rich soil for mining all sorts of deep meanings, or more likely just a good laugh when you\'re half blotto.','f834b074ca826901e817c30a1b73c3ce',0,'','RmbvPf3W',1,0,'',0,0,0),(11743,2118,3,1,0,'69.120.114.47',1156289820,1,0,1,1,1,1,'A','Re: Snakes on a Plane (2006)','Embarrased to say you really got me with this one. \r\nObviously we believe in your judgments.','36eea602974ce683bcfd0de328e0655e',0,'','hps1Cl0a',1,0,'',0,0,0),(11744,2118,3,1,0,'69.120.114.47',1156311780,1,0,1,1,1,1,'arsaib4','Re: Snakes on a Plane (2006)','... especially if they\'re based upon a viewing!','c273e0abb3bfe4271d723c3b951b5d23',0,'','DWoNYzt4',1,0,'',0,0,0),(11745,2119,3,1,0,'69.120.114.47',1155368280,1,0,1,1,1,1,'hengcs','World Trade Center (2006)','Director: Oliver Stone\r\nCast: Nicolas Cage, \r\n\r\nThe official site\r\nsee\r\nwww.wtcmovie.com/','b23c2aa812a34cd25258421e5803e92e',0,'','yCN8qfBd',1,0,'',0,0,0),(11746,2119,3,1,0,'69.120.114.47',1155368400,1,0,1,1,1,1,'hengcs','Re: World Trade Center (2006)','nope, i have not watched.\r\nit is not in singapore yet.\r\nhas anyone watched?!\r\n\r\ni am anticipating this film and United 93 ...\r\ni know you hate the next question ...\r\nbut for those who have watched ... which is better (and more imptly, why?) ... from various aspects?! ... e.g., drama, script, etc\r\n\r\nthnks','be08facaf10a8a966ff8b9118d7b0a11',0,'','4u7hKoVj',1,0,'',0,0,0),(11747,2119,3,1,0,'69.120.114.47',1155382560,1,0,1,1,1,1,'trevor826','Re: World Trade Center (2006)','I can\'t believe the number of films spinning off from this extremely tragic occurance, especially when the troubles are still very much in the news almost every single day.\r\n\r\nI\'m not trying to be funny but I will make a point of not seeing any film tied up with this, no matter how good and/or well meaning they are.\r\n\r\nCheers Trev.','a5b75496a9da066798725b86fe96f8e2',0,'','fB9GmlUw',1,0,'',0,0,0),(11748,2119,3,1,0,'69.120.114.47',1155402120,1,0,1,1,1,1,'arsaib4','Re: World Trade Center (2006)','\"I\'m not trying to be funny but I will make a point of not seeing any film tied up with this, no matter how good and/or well meaning they are.\"\r\n\r\nSame here.','3a84af3f96c2e594b189f0c841d7bd61',0,'','P9guYh4x',1,0,'',0,0,0),(11749,2119,3,1,0,'69.120.114.47',1155418620,1,0,1,1,1,1,'wpqx','Re: World Trade Center (2006)','Well I eventually plan on seeing every Oliver Stone film although I\'m admittedly several behind now. I wouldn\'t be so quick to dismiss United 93 though, damn close to the best film I\'ve seen all year.','26db4a5ea0fbed94e3cc17c26340d2ce',0,'','1vGYUsp0',1,0,'',0,0,0),(11750,2119,3,1,0,'69.120.114.47',1155448080,1,0,1,1,1,1,'hengcs','Re: World Trade Center (2006)','United 93 was scheduled for July in Singapore ...\r\nsomehow, it got delayed ...\r\ndont know why ...','36df3175a29e02c03ec17b2732fdcbd1',0,'','g5kwpLEu',1,0,'',0,0,0),(11751,2119,3,1,0,'69.120.114.47',1155546720,1,0,1,1,1,1,'arsaib4','Re: World Trade Center (2006)','\"I wouldn\'t be so quick to dismiss United 93 though, damn close to the best film I\'ve seen all year. \"\r\n\r\nBased on what I\'ve read, I\'m almost certain that both United 93 and the latest Stone film are well made. But at this point I simply refuse to watch anything that packages 9/11 into a thrill-ride or a lesson for the sake of the so-called \"American values.\"','35a81597371cb9d46b4131f44390285d',0,'','EGcuYi69',1,0,'',0,0,0),(11752,2119,3,1,0,'69.120.114.47',1155577020,1,0,1,1,1,1,'wpqx','Re: World Trade Center (2006)','I haven\'t heard all that great things about Stone\'s film, but thats because people in general just hate everything he\'s ever done.','bbf786ee44c813f08228d978ab708013',0,'','wJnqmXE2',1,0,'',0,0,0),(11753,2119,3,1,0,'69.120.114.47',1155600780,1,0,1,1,1,1,'jcdavies','Re: World Trade Center (2006)','I\'ve not seen it and i\'ve read some mixed comments, but there was an article i read in one British paper about how it\'s been championed by some shocked right-wing critics who normally despise his work, but say it\'s truly inspiring and wonderful. Not that i\'m encouraged to see it by their response. \r\n\r\nThe whole media reaction to 9/11, 7/7, the latest foiled plot in Britain has been one sickening wallow in sensationalism, trying to add victim status to rich imperialist powers who sit back in comfort while we drop our bombs and kill tens of thousands of civilians whose lives are valued far less than, as inferior to, ours. In The Times the other day the first 16 pages were devoted to the foiled terrorist plot in Britain, when noone was killed- do we love the whole idea so much? Even had the plot succeeded the casualty figures would have been similar to just another week in Iraq. A large number of people died in 9/11, and so many many more are killed by our own state terrorism; we are part of an axis of destruction. 9/11 is not a subject for exploitation by media or politicians but their reaction has made the world a much more dangerous place. Any film on the subject should take a long hard look at our own general culpability for the lives lost on both sides of this so-called \"war on terror\" (a ludicrous expression, especially given the statistics of civilian compared with military victims of Hizbollah-Israel conflict), instead of trading on facile notions of good and evil, selling excitement + suspense, for profit. \r\n\r\nI\'m tired of racist media equating 100\'s and 1000\'s of darker-skinned foreign lives with 1 British or American. The press here have long had a pecking order for value of life; you can have a huge catastrophe in China with 10,000 dead and that will be relegated in newsworthiness behind 50 European dead and, most important of all, 6 or 7 British dead.\r\n\r\nNationalism as well as religious dogma is a great but deadly kitsch of our times; Kundera\'s The Unbearable Lightness of Being (book) cuts through the nonsensical hypocrisy of so many kitschy \"isms\".\r\n\r\nI can only hope World Trade Center isn\'t just more kitsch but am not optimistic, even though Stone\'s documentary Comandante was relatively restrained, if possibly self-promoting.','7501710a6b4213f0e2ce5f2557879b6b',0,'','26DHknhA',1,0,'',0,0,0),(11754,2119,3,1,0,'69.120.114.47',1155603720,1,0,1,1,1,1,'wpqx','Re: World Trade Center (2006)','You do bring up some interesting points, but I think that Stone\'s film is not so much about the \"poor american lives lost\" as it is about the people, namely rescue workers, firemen, and civilians who did what they could to save the few lives they could. Granted its impossible for it to not have echoes of a much larger scale, and its impossible to not be emotional dealing with that issue.\r\n\r\nI think Spike Lee\'s 25th Hour was probably the best film about the subject, because it dealt with it more as an after thought. There was an echo of the destruction, without trying to make an overt statement about it. Even if the subject is too great to make direct statements about, I don\'t necessarily think it should be ignored either.','74e58ce9db5b9d007a8956f82e6aad4b',0,'','hdqt9bcz',1,0,'',0,0,0),(11755,2119,3,1,0,'69.120.114.47',1155633600,1,0,1,1,1,1,'jcdavies','Re: World Trade Center (2006)','Well, if Stone\'s film has genuine integrity and doesn\'t milk it for dramatic effect or glamorise, then...\r\n\r\nI\'ll try and judge it on its merits when i see it.\r\n\r\nBut i would still prefer for Western directors to concentrate more on the other side of the story, the ordinary decent men, women and children who\'ve been suffering and trying their best for each other on the other side of this \"war\". Or even the people still dying in their millions in forgotten parts of the world of poverty, starvation, wars (backed by Western Arms companies) and preventable diseases. A Million Rwandans massacred while the Western powers washed their hands (at least a small number of films have recently been dealing with that issue). In any event, clearer statements are needed that we the human race are all one; that Western lives are not more important, brave and praiseworthy than others throughout the world.\r\n\r\nThere\'s been far too much hype and brainless tribalism in the general media portrayal of events, which needs balancing up.','d6c513d7376dc15b148cdd4c28883310',0,'','RUyM21FT',1,0,'',0,0,0),(11756,2119,3,1,0,'69.120.114.47',1156206600,1,0,1,1,1,1,'A','Re: World Trade Center (2006)','Quote:The whole media reaction to 9/11, 7/7, the latest foiled plot in Britain has been one sickening wallow in sensationalism, trying to add victim status to rich imperialist powers who sit back in comfort while we drop our bombs and kill tens of thousands of civilians whose lives are valued far less than, as inferior to, ours. In The Times the other day the first 16 pages were devoted to the foiled terrorist plot in Britain, when noone was killed- do we love the whole idea so much? Even had the plot succeeded the casualty figures would have been similar to just another week in Iraq. A large number of people died in 9/11, and so many many more are killed by our own state terrorism; we are part of an axis of destruction. 9/11 is not a subject for exploitation by media or politicians but their reaction has made the world a much more dangerous place. Any film on the subject should take a long hard look at our own general culpability for the lives lost on both sides of this so-called \"war on terror\" (a ludicrous expression, especially given the statistics of civilian compared with military victims of Hizbollah-Israel conflict), instead of trading on facile notions of good and evil, selling excitement + suspense, for profit. \r\n\r\nCouldn\'t have said it better myself. It\'s the same here in Germany.','7cfaee81187e434ed9d73177264a28ba',0,'','RoGlq4QC',1,0,'',0,0,0),(11757,2120,3,1,0,'69.120.114.47',1153450140,1,0,1,1,1,1,'wpqx','A Scanner Darkly (2006) - Richard Linklater','Directors are like athletes. The best ones are all stars capable of extraordinary last minute heroics, and most are just bench warmers who occasionally just get the job done. Some of these all stars however have little slumps, and even if they\'re not in a slump you can\'t help but feel they can do better. Richard Linklater hasn\'t exactly been in a slump, but I wouldn\'t say he\'s been really working up to his full potential, that is until I saw Through a Scanner Darkly. This is his 50 point, 3-home run, 4-touchdown, etc game. His glorious vision, a film that seems to incorporate all his previous best elements, but so much more that hadn\'t even been imagined before.\r\n\r\nThe film is ambitious by nearly any standards. Sure its style might not be \"new\" coming after the previous Waking Life, but that\'s hardly the point. Linklater expands his time frame, working within a much longer period than the general one-day time frame he typically allows himself. He also boldly goes where he\'s never gone before, the future, albeit a not too distant one. He\'s also found one hell of a source in Phillip K. Dick\'s original novel. Dick\'s previous film adventures have been in a much more distant future, and were handled as big budgeted A-list Hollywood projects. Linklater embues Dick\'s work with the independent do-it-yourself attitude you generally don\'t associate with Dick\'s work. The special effects aren\'t computer generated cities or high tech gadgets of the future. Instead the frills are all handled through drawing, and for my money the quality of animation is a step up from where Waking Life started. It may also be because whereas Waking Life was a somewhat interesting but ultimately flawed and repetitive experiment, Scanner is a visionary masterpiece through and through.\r\n\r\nNow I can\'t really tell if it was the animation or not, but I don\'t think Keannu Reeves has ever been better on film. He\'s very typically been a laughed at \"actor\" who everyone on earth for some reason seems to have a problem with, but I\'ve generally thought he was underrated. I hope that if people see this film, they may also start to join my one man campaign. Of course it is \"him\" acting, because like Waking Life this was shot with live action, and animated over, which may sound a little pointless to people at first glance. However the blurred lines, and distorted perspective offered by the animation, give the film a necessary drug induced feel to it that would not be possible through regular live action film. Robert Downey Jr. plays a Linklater archetype. An eccentric who talks extremely fast, and at least acts like he knows everything there is to know about everything. Luckily for us he is dealt with somewhat comically and his theories are constantly being proven wrong. However his over the top literary dialogue does get to wear thin on your nerves after awhile.\r\n\r\nThe film does have many current themes that make it almost unnecessary to set it 7 years from now. The whole notion of the sacrificial lamb, or baiting the big fish to catch the bigger fish is nothing new. The concept that a government influenced corporation can not only make itself above the law, but also be the ones behind the countries greatest epidemic. Dick was certainly implicating high officials as being possible perpetrators of the drug supply in his book. Linklater simply rides along with it, and although the drug may have a new name, it could be any previously addictive substance. The government can control the supply, and also work to employ law enforcement officers to make the public think that there actually is a fight going on. An interesting concept to think the budget for law enforcement can be funded by drug money.\r\n\r\nAgent Fred is a scapegoat, and we become personally afflicted when we see his deterioration. We want to believe he\'s not taking anything, that he\'s doing his job the way it should be done. We don\'t want to believe he is being made into a junky for \"the greater good\". More than just examining drug culture and the double talk surrounding it, the film is more about that human sacrifice. Albeit a much inferior film, there was a similar ethical issue raised by John Travolta\'s character in Swordfish, where he could justify killing one innocent to save a million more. Archer isn\'t an innocent necessarily, because he does willingly succumb to the drug, but we generally assume he wouldn\'t have become addicted had he not been put in his situation.\r\n\r\nLinklater\'s film is filled with gems of ethics and critical thinking experiments. However it is also full of moments of unexpected warmth, humor, and deep felt emotion. In a later scene of the burned out Archer arriving in a clinic, I couldn\'t help but recall a similar scene in Darren Aronofsky\'s Requiem For a Dream, another slightly surreal drug addiction story. This is a film that will pleasantly sit alongside Linklater\'s best work, and be one that people will hopefully remember long after The Newton Boys fades from their mind.\r\n\r\nGrade A','0fdd8e566628892f78bb63cb0c8321e1',0,'','MNumpC0b',1,0,'',0,0,0),(11758,2120,3,1,0,'69.120.114.47',1153460160,1,0,1,1,1,1,'hengcs','Re: A Scanner Darkly (2006) - Richard Linklater','wow\r\nnow, i am anticipating this ...','214ddafb23e4111d56497d11bc06298c',0,'','f8qJGcCe',1,0,'',0,0,0),(11759,2120,3,1,0,'69.120.114.47',1155776160,1,0,1,1,1,1,'trevor826','Re: A Scanner Darkly (2006) - Richard Linklater','Intense film and an excellent review from wpqx, could be one of the standouts of the year. Definitely Linklater and definitely Dick, thankfully the animation technique was not the same as used in Waking Life, that may have been a little too much.\r\n\r\nI do not see this film having the rewatch value of Waking Life though.\r\n\r\nCheers Trev.','e61c7081fb6344567b221897f17138f3',0,'','vtzB817J',1,0,'',0,0,0),(11760,2120,3,1,0,'69.120.114.47',1155895380,1,0,1,1,1,1,'hengcs','Re: A Scanner Darkly (2006) - Richard Linklater','Ha ha\r\nthis may be the surprise of the year ...\r\n\r\neven though i have not watched it yet (not in singapore), who knows, maybe it will win Best Animation for 2006 ... (i.e., over CARS) ... oops ... \r\n\r\nbut who knows, maybe the \"older\" and \"conservative\" Oscar voting committee will still prefer CARS ... a \"family film\" and a film about \"valuing the past\" ... ha ha ha','bbdefcceee9f15e030ad16f30cf9321d',0,'','oaVX5g4l',1,0,'',0,0,0),(11761,2121,3,1,0,'69.120.114.47',1156003860,1,0,1,1,1,1,'justindeimen','Akeelah and the Bee (2006)','\r\n\r\nReview:\r\n\r\nAkeelah and the Bee (Starbucks Entertainments first feature) is another feature focused on the tough and extremely vexing sport of competitive spelling better known as The Spelling Bee. Almost becoming a sub-genre of sorts, the most prominent of these eponymic features include the tense and awesome documentary Spellbound and the drama Bee Season with Richard Gere. It has a sort of unsettling charm in the idea of harried kids pushed into the spotlight for the most important thing (according to their parents and peers) that theyd ever do in their lives. It makes looking at that one nervous guy before final exams pale in comparison.\r\n\r\nAkeelah (Keke Palmer) is the customary template for youngsters that break the environmental mold from which they come from. The perennial nurture vs. nature debate rages again as Akeelah finds herself pitted against privileged and wealthy kids her age that are all vying for the same prize. As shes an African-American girl who depends on her single mother, and looking out for her wayward siblings in a troubled neighbourhood, she also has the distinction of being the smartest girl in her middle school. She also has a prodigious affinity for words and the English language.\r\n\r\nShe spells these words magnificently, surprising everyone but her mother (Angela Bassett) whos too busy to notice. As incidents naturally leads to circumstance, she finds herself pushed to represent her disadvantaged school in the state Spelling Bee competition to not get left behind. Under the tutelage of Dr Larabee (Laurence Fishburne), she finds the necessary strength of character to raise her up from her inhibitions. Predictable right? Undoubtedly, it is. But therein lies its main draw. It does not deny what it is, which is a family drama thats inherently preachy and sugarcoated at the end. Beneath its sentimentalities is a film full up with heartfelt messages that are inspirational whether or not cynicisms get in the way of it. Its ardent conventionality needs the categorised supporting characters such as the well-meaning competitor and the Machiavellian adversary with a secret.\r\n\r\nIn many ways, Akeelah is lucky to be who she is. Non-descript characters come and go around her neighbourhood but its easily discernable that shes not as bad off as we are led to believe. Compared to her peers in Woodland Hills and Beverly Hills, shes just the little black girl but shes also the girl whos richer in the bank of love as it were. The alienation she feels at home in her neighbourhood is as potent as the alienation she feels shoved in the spotlight of Americas affluent. As she finds her place in one, she finds her place in the world by realising that winning is an important goal to have but having the courage to try is the real achievement.\r\n\r\nSomething admirable about writer-director Doug Atchisons pitch in crafting these social issues is that he doesnt raise class prejudices and racial stereotypes onto the pulpit but never waters down the issues by blatantly whitewashing it. He reinforces these stereotypes by lighting dapping them with observations and pragmatism but never creates caricatures of them. The formidable Fishburne and Bassett team seen in Boyz n the Hood and Whats Love Got To Do With It still exudes the intensity weve come to realise from the pairing. As the two central parental figures in Akeelahs life, they tear her down with their demons and prop her back up with their better angels. Keke Palmer must have given the best performance by a youngster this year with Akeelah. She upstages her more magnetic co-stars with erudite resilience having carried the entire film on her deceptively scrawny shoulders. She makes this film a testament to the potential of adolescents.\r\n\r\nAn unapologetically schmaltzy affair, Akeelah and the Bee is a film about messages. Its a homily about shaking free the shackles of apprehension through knowledge. By showing the willingness of people who want to change and see the potential that theyve lost in those around them, its ultimately about forgiving the misgivings of others and most importantly forgiving ones self. As far as feel good movies go, this one is a definite keeper and is definitely one of my favourites this year. I-n-d-u-b-i-t-a-b-l-y.\r\n\r\n4/5\r\n\r\nJustin Deimen','d82185665d0c1076e257713f43d64a31',0,'','j9lUS03p',1,0,'',0,0,0),(11762,2122,3,1,0,'69.120.114.47',1155321840,1,0,1,1,1,1,'justindeimen','Lucky Number Slevin (2006)','\r\n\r\nReview:\r\n\r\nGone are the days when crime thrillers were dark, grim and menacing. By relishing in its high-concept visual style and its overconfident and convoluted narrative, a hyperactive candy-striped neo-noir crime film is born. Lucky Number Slevin utilises strong comic book imagery to serve up a colourful and fantastical story centred on a seasoned hitman (Bruce Willis), a hapless young schmuck, Slevin (Josh Hartnett) and two of the biggest crime bosses (Morgan Freeman as The Boss, Sir Ben Kingsley as The Rabbi) in the city.\r\n\r\nSlick and fast paced, its snappy dialogue looms heavy over each scene. Reverberations of the non-stop chatter amongst its players echo back later on in the twisting plot. The bastardized comic trope employed seems like a scrawny throwback to the cool and glib heydays of film noir, but is prone to resorting to cheap risible slapstick. It uses radical camera angles, with flashy costumes and the f/x aided edits that mixes up inventive shots and extreme close-ups. It races recklessly headlong into unbridled visceral imagery.\r\n\r\nIts always exciting when unknown and enveloping perils surround a films protagonists while both the characters and audience are lost in the scores of seemingly unrelated subplots and incidents, which all threaten to culminate in an unexpectedly explosive finish. But unfortunately, we already expect that ending from the get-go with this movie, as the constant windups become a telling farce early on when they come in barrages. Theres a distinct difference in going along for a ride and being taken for one.\r\n\r\nWith its edifying cast of acting luminaries that have mastered the art of screen presence, Hartnett is painfully dull and latent as the lead. Its an effort just to discern or glean any emotions from him. Possibly an absence of direction or just lacking in leading man charisma, the initial cartoonish and smart-alecky description of Hartnetts Slevin takes its cue from unfortunate incidents at the start, and never quite goes away even when he becomes a changed man through his experiences. While being the definitive veteran to this genre, Bruce Willis oozes class and polish everytime he turns up in his underdeveloped role.\r\n\r\nLacking heart and originality in its tangled leash, the style over substance debate surfaces once again. The non-existent development of its key characters, the racing and often absurd leaps over the conspicuous plot holes and convenient contrivances knot an otherwise action-packed and energetic romp. Theres a distinguishing shift in tone at the midway mark, when its animated dialog and exaggerated behaviour takes quite an ominous and dramatic turn. It\'s arrogant and self-conscious in its constant swiveling of the plot that is never quite the head-trip it thinks it is, especially when the holes start to show at the end. Looking for depth in this film would be as nonsensical as its vacuous story but at least it guarantees a relatively enjoyable movie to go along with your popcorn.\r\n\r\n3/5','fae51978409a797063e92dd74300fa03',0,'','KUakt87y',1,0,'',0,0,0),(11763,2123,3,1,0,'69.120.114.47',1135692240,1,0,1,1,1,1,'arsaib4','Steven Spielberg\'s MUNICH (2005)','While Schindler\'s List (1993) may remain the most important film to director Steven Spielberg, and understandably so, his latest effort Munich might just end up being the film hes most proud of. Intense and riveting, serious and thoughtful, Munich is arguably the toughest film so far from Spielberg. For once, he has tried to engage his audience, instead of simply providing them with they have come to expect from him. Yet, at the same time, the filmmaker has laid out his case with conviction, both politically and artistically, while realizing that hell most likely be criticized by the same people who have praised him in the past. But instead of hiding in the corner, Spielberg has responded to the criticism. He recently stated that, \"The people who attack the movie based on \'moral equivalence\' are some of the same people who say diplomacy itself is an exercise in moral equivalence, and that war is the only answer. That the only way to fight terrorism is to dehumanize the terrorists by asking no questions about who they are and where they come from. What I believe is, every act of terrorism requires a strong response, but we must also pay attention to the causes. That\'s why we have brains and the power to think passionately. Understanding does not require approval. Understanding is not the same as inaction. Understanding is a very muscular act. If I\'m endorsing understanding and being attacked for that, then I am almost flattered.\" Bravo!\r\n\r\nMunich depicts the somewhat secretive response by the Israeli government after 11 of their athletes were killed by the Palestinian gunmen (known as \"Black September\") at the 1972 Olympics in Munich, Germany. The title card, \"Inspired by true events,\" allows Spielberg some artistic freedom, and he needs it since hes based the film on a controversial 1984 book \"Vengeance\" by Canadian journalist George Jonas. For his work, Jonas employed the person who actually led one of the Mossad hit squads to track down the killers. In the film that man, Avner, played by Eric Bana, is a secret agent whos inexperienced enough to be under the radar of most other agencies, and so he\'s brought in. The dilemmas and the compromises are palpable early on as we watch the Israeli Prime Minister Golda Meir (Lynn Cohen), no doubt under intense pressure, sharing a few words with Avner that more or less sum up what has to be done (a similar sequence from Apocalypse Now [1979] comes to mind). Hes then taken under command by an official named Ephraim (Geoffrey Rush), and assigned his duties which need to be performed with four other agents under his leadership.\r\n\r\nAs the team starts to carry out its targets in Europe with the help of an unscrupulous Frenchman (a brilliant Mathieu Amalric), Munich develops a rigorously grinding, thrusting motion found in early John Frankenheimer and William Friedkin films. (Thankfully, however, the film doesnt feature any sexy car chases, nor are there ubiquitous overhead shots of cities with their names at the bottom.) And that grittiness is partly due to Spielbergs remarkable mise-en-scne and the work of his longtime DP Janusz Kaminski, but the credit truly goes to the screenplay by Tony Kushner who worked on an earlier draft by Eric Roth. The violence, from the initial sequence depicting the siege of the Israeli dormitory to the avenge killing of a Dutch assassin, is convincingly brutal, thus accentuating the air of graveness that persists throughout. (The notion that the film is somehow \"entertaining\" is beyond me; I was emotionally and intellectually exhausted while discerning Spielbergs every step [yes, Ive learned not to trust him], but needless to say, he stayed on course, and by the end I knew that something extraordinary had taken place.)\r\n\r\nBut Munich wouldnt be what it is without Eric Bana. His character, one of Spielbergs greatest, is initially forced to transform from a principled, morally honest soldier to a ruthless mercenary (though while continuing to believe in the cause), and then ultimately to a physically and emotionally drained out nobody. And it is due to Banas performance -- his eyes always speaking louder than his words -- that the moral complexities are consistently palpable, and Spielberg takes full advantage by posing his questions that deal with the responsibly of a state through him. Banas Avner is burdened by his past, and his present doesnt offer much relief. Hes fully aware of his responsibilities, yet he cant ignore the deep internal suffering that has been the result of his actions. As soon as he begins to question his task, while realizing that the hunters might become the hunted, he withers away in mind and body (Bana frantically searching for a device that they once installed to eliminate someone is one of the films greatest moments). Spielberg, much like what David Cronenberg did in this years A History of Violence, contrasts the two sex scenes in the film: one before Avner leaves for duty and the one late in the film once he\'s returned. And as the final sequence unfolds in a Brooklyn garden with the Twin Towers in the background, the filmmaker harks back to an issue dealt by his protagonist\'s family and foe, and what was the central theme of Violence (albeit in a smaller context): \"The importance of a Home and the price one is willing to pay to protect it.\"\r\n\r\nAt the end, I would like to thank and congratulate Mr. Spielberg for Munich, the best and most important American film of 2005.','d45e73aef87a4062d8e4645b0fe43af4',0,'','y1ZSjUN8',1,0,'',0,0,0),(11764,2123,3,1,0,'69.120.114.47',1135693440,1,0,1,1,1,1,'hengcs','Re: Steven Spielberg\'s MUNICH (2005)','Somehow, the film is already in my MUST WATCH list (i.e., regardless of how it performs)! \r\nha ha ha\r\n\r\nno no no, it is NOT because of the director, but the events it deals with, i would still watch it if it were an independent film ...\r\n\r\nbut I won\'t be able to watch it till February ...\r\n\r\nif only most movies can launch at the same time around the world ... sigh ... \r\nwhy only \"big budget blockbuster\" (which may turn out to be not such a blockbuster) ...','271016a20d707c15fcb1e7ae3c00bef8',0,'','kp4g0HZ8',1,0,'',0,0,0),(11765,2123,3,1,0,'69.120.114.47',1135813320,1,0,1,1,1,1,'A','Re: Steven Spielberg\'s MUNICH (2005)','Thanks for your very good Review arsaib.\r\nWhile Spielberg isn`t exactly one of my favorite directors, I will try to see \"Munich\". Would be interesting to compare it to \"One day in September\" which was a very good film imo.','712e08c6612095c27ad1adf09c7161ce',0,'','92f46Lk5',1,0,'',0,0,0),(11766,2123,3,1,0,'69.120.114.47',1135816740,1,0,1,1,1,1,'Johndav','Re: Steven Spielberg\'s MUNICH (2005)','Thanks indeed for the review; one Spielberg film i\'m looking forward to (more than most). I\'d gathered before its release he was determined to make the point about unthinking revenge against \"terrorism\", which in the light of brutal reactions following 9/11, undermining human rights and the so-called moral high ground, is pretty important at this time. I understand he\'s surprised many by not being more partially pro-Israel, but he\'s a decent guy wanting to understand, rather than some gung-ho Zionist.','13a14d5a4e7e3ae4c347eaf32e52468c',0,'','zDL8k5la',1,0,'',0,0,0),(11767,2123,3,1,0,'69.120.114.47',1135848060,1,0,1,1,1,1,'arsaib4','Re: Steven Spielberg\'s MUNICH (2005)','Thanks, guys. The film has and will continue to divide audiences, and that shouldn\'t be considered a negative. It is uncomfortable to watch, no matter what you believe in. Spielberg loves Israel and believes that it should exist (and so do I), but as he\'s said, it\'s that love that demands him to question their policies, and the consequences that they\'ve had to bear for decades.','95e536dacf33e3e104a45bcefee1b982',0,'','d83Xg6cQ',1,0,'',0,0,0),(11768,2123,3,1,0,'69.120.114.47',1137188460,1,0,1,1,1,1,'wpqx','Re: Steven Spielberg\'s MUNICH (2005)','I\'m kinda with arsaib on this one.\r\n\r\nClassic Spielberg\r\n\r\nAdmit it Spielberg is an entertainer first and foremost. Surely one of the most technically impressive filmmakers (perhaps only behind Scorsese), he specializes in entertainment. Films were the good guys win, bad guys lose, and all throughout it\'s done with a certain level of style. Spielberg\'s greatest fault has always been to play to the common denominator. He doesn\'t seem to have much if any respect for the average filmgoers intelligence, and has never made films for anything but the masses. His films are consistently full of really hokey touches (the War of the Worlds reunion, the \"Give us our free\" speech in Amistad, Elliot getting sick with ET) but we come to expect them, and although I for one certainly cringe you have to realize who you\'re dealing with.\r\n\r\nMunich is entertainment. Due to it\'s release date it is going to be associated with the art house market, just as Amistad another history lesson for people who never read a history book was. American history might be a particular strong point of mine, but the events of the Munich games aren\'t. I chose not to refer to it as a massacre, because well the whole mess is a little too muddled.\r\n\r\nEric Bana, who\'s been kicking around Hollywood\'s B-list for a few years now is perfect for Spielberg. A face that is familiar but not a huge movie star. After Cruise in War of the Worlds, I suppose Spielberg was a little tired of the big A list movie stars. He wants his assassin to be just that, and Bana is like his character, just enough under the radar to pull off this role. Nothing in any of Bana\'s previous efforts though hints at his ability as an actor, and for this reason I may have to credit Spielberg the director. Bana gives a fantastic performance here, arguably the best male performance of the year, although I did find the year a little weak for actors. He changes throughout, from self confident to self doubting, from patriotic to exiled, Bana makes his work masterful.\r\n\r\nIs the film perfect? Of course not, few if any films are (Well maybe Kane). It is slightly flawed but not to any extreme extent. I\'ll admit I found the second sex scene to be very poorly done, and as someone here has pointed out, embarassing. I chose not to view the film as anything close to a political picture, because Spielberg never has been a political filmmaker and this film\'s politics are too simple to make it intriguing. This is a man whose previous political statements were nothing more than caricatures of nazis with pitchforks and horns. The enemy here is a little less drastically evil, and Spielberg makes at least a few attempts to show their side of it. I can applaud him for his first touch of humanism.\r\n\r\nThe film is great however, much like I found Minority Report and Catch Me If You Can great. It is good filmmaking. It could be better no doubt, and the 164 minute run time pushes it, but I found the film to be quite capitivating. There is a command of suspense, and a general interest in the characters. I also compared this film to Syriana, and I find this infinitely better. Syriana tries to let the audience figure it out, when really it\'s an overambitious director saying he doesn\'t know what the hell he\'s doing maybe you can tell him. Spielberg knows what he\'s doing and is very calculating, therefore I not only knew all the characters in the film, but what they were doing, and a lot about them. Syriana perhaps could have benefited from Munich\'s longer running time, perhaps that film wouldn\'t have been so uncaptivating and pointless.\r\n\r\nLike Syriana though Munich is a film that is going to have Hollywood patting itself on the back for \"daring\" to make. It is really pointless for this self congratulatory nonsense, because let\'s face it the US hates Arabs, and these films are little more than officially sanctioned racist pictures. Look at history and check some of the WWII films and how they show the Japanese. It was socially acceptable then to hate them, and it\'s socially acceptable here to hate Arabs, even though they\'ll never admit it. Perhaps that final shot of the Twin Towers is the filmmakers way of saying \"@#%$ you camel jockies\". In the process saying that it\'s not the Jews fault. I\'d rather not read too much into it, but let me know if I\'m completely high and insane for thinking the way I do about this countries attitude towards Arabs.\r\n\r\nGrade A','2aecdaa985351ce727e0cf6385923272',0,'','qyzGa20m',1,0,'',0,0,0),(11769,2123,3,1,0,'69.120.114.47',1154978880,1,0,1,1,1,1,'howardschumann(d)','Re: Steven Spielberg\'s MUNICH (2005)','MUNICH\r\n\r\nDirected by Steven Spielberg (2005)\r\n\r\n\"For what will it profit a man, if he gains the whole world but loses his soul?\"- Matthew 16:26\r\n\r\nSteven Spielberg\'s Munich is a lament for the loss of idealism, not only for Avner (Eric Bana), the leader of an assassination squad, but also for Israel, a country that once proclaimed the supremacy of human values. The film deals with events stemming from the deaths of eleven Israeli athletes at the 1972 Olympic games in Munich, Germany at the hands of a group of Palestinians who came to be known as Black September. It is not a documentary but historical fiction that dramatizes the unofficial Israeli retaliation for the deaths in Munich, depicting the revenge killings of a secret intelligence operation. \r\n\r\nThere is much bloodshed and horrific violence in the film but there are no heroes and no villains and, to the chagrin of supporters on both sides, the film contains more questions than answers. Will the killings stop the terror or will the men killed simply be replaced by even more dedicated terrorists? What is the result for an individual\'s soul and indeed the soul of a nation? Is revenge killing ever justified? These are questions in which Spielberg has shown considerable courage in raising.\r\n\r\nThe leader of the unit is Avner, a member of the Mossad, the Israeli version of the CIA, and the son of a war hero. Though he is reluctant to leave his wife who is pregnant, he does not question his mission out of his belief in the righteousness of the Israeli cause. His team includes Steve, a dedicated Zionist from South Africa (Daniel Craig), a toymaker who has turned to making bombs (Mathieu Kassovitz), an antique dealer (Hanns Zischler) and a veteran military officer (Ciaran Hinds). All work for Mossad and their case officer (Geoffrey Rush), though officially no one has an identity or connection to the organization. The film shows that the primary decision was made by a high member of the government, presumably Prime Minister Golda Meir, who justifies the assignment by proclaiming that every civilization finds it necessary to negotiate compromises with its own values. \r\n\r\nEach assassination attempt is shown in detail, including the planning and the execution as the team carries out its operations in Rome, Paris, Cyprus, Beirut, and Athens. As the killings pile up, the bloodshed begins to take its toll, especially the gory \"personal\" killing of a woman operative who lured and killed one of the members of their unit. The once idealistic Avner becomes disillusioned by the experience and he and others begin questioning the morality of their assignment and whether it will ultimately help or hurt the Israeli cause. Some like Steve, a hard liner says, \"the only blood that matters to me is Jewish blood\". One member of the Israeli group, however, says \"Jews don\'t do wrong because our enemies do wrong. We\'re supposed to be righteous\" Another says, \"Palestinians didn\'t create terrorism. Palestinian lands were taken by bloodshed and terrorism\". \r\n\r\nThe Palestinian point of view is represented by a group of Arab bodyguards who unexpectedly share a safe house with the team in Athens, each unaware of the other\'s true identity. One of the bodyguards, Ali (Omar Metwally) claims that the Palestinians can \"wait forever. You don\'t know what it is not to have a home. Home is everything\". Although the film does not take a stand on how countries should react to terrorism, it questions the wisdom of the \"eye for an eye and tooth for a tooth\" philosophy and the ethical basis of the operation. When Avner concludes, \"there is no peace at the end of this\", he demands evidence from his superiors that the men they killed were actually involved with the Munich massacre. \r\n\r\nMunich is an honest, tightly woven, and very suspenseful film that contains some fine performances, especially that of Eric Bana. More importantly, it asks us to look at what is possible in today\'s world beyond the exchanging of atrocities, to perhaps even envision the day when claims of religious superiority (\"religionism\") will be seen as racism and homophobia are today, as relics of an ignorant past. It allows us to dream that the ultimate solution to the Middle East conflict will not be a political one based on dual states enforcing a religious apartheid, but a spiritual solution where direct experience, not ancient scriptures, will lead people to the divine presence.\r\n\r\nGRADE: A-','8e800e4a9c50bdc68998e54cd4a84e37',0,'','qniPFpb6',1,0,'',0,0,0),(11770,2123,3,1,0,'69.120.114.47',1155169500,1,0,1,1,1,1,'arsaib4','Re: Steven Spielberg\'s MUNICH (2005)','\"More importantly, it asks us to look at what is possible in today\'s world beyond the exchanging of atrocities, to perhaps even envision the day when claims of religious superiority (\"religionism\") will be seen as racism and homophobia are today, as relics of an ignorant past. It allows us to dream that the ultimate solution to the Middle East conflict will not be a political one based on dual states enforcing a religious apartheid, but a spiritual solution where direct experience, not ancient scriptures, will lead people to the divine presence.\"\r\n\r\nVery well said, Howard. I\'m glad that you were able to appreciate Spielberg\'s objectives. But I\'m sure that you also respect opposing opinions, especially if they regard yours, a simple concept that unfortunately remains quite foreign to certain individuals we both have come across.','9cc3a501e69fc84f74a043f26b913ba5',0,'','jJ0o7R4n',1,0,'',0,0,0),(11771,2124,3,1,0,'69.120.114.47',1155051180,1,0,1,1,1,1,'justindeimen','The Ant Bully (2006)','\r\n\r\nReview:\r\n\r\nBased on a popular childrens book by John Nickle, The Ant Bully is a journey into the already penetrated world of ants and everything entomological. Its the first of three big budget CGI animated features that we will be expecting in the short span of two months. Although boasting the most impressive roster of star voice talents, youll still be hard pressed to distinguish this from the rest. Ultimately, it has a been-there-done-that vibe that permeates the relatively dated animation, which in terms of story and animations has nothing of notable value to add to the already congested library of CGI films.\r\n\r\nPerhaps its greatest and unintentional promotion would be the ludicrous accusations of political subtext. It has drawn some criticisms of subtly infusing communist rhetoric in its prevailing theme of communal strength in numbers and conformity for the greater good, but thats just hogwash. If anything, its theme and certain sequences insinuate Buddhist philosophies more than politics.\r\n\r\nAfter one too many atomic wedgies by the local bully, Lucas a.k.a. Peanut (Zach Tyler) takes out his frustrations on the anthill and insects in his lawn. This cycle of cruelty earns him the title of Peanut the Destroyer, amongst the ant colony that remarkably learnt how to speak English, has a stable government and can perform magic. In fact, to this highly advanced and sophisticated species, humans are considered the primitive philistines. Local ant wizard, Zoc (Nicholas Cage) gets his revenge by creating a potion to shrink Lucas into the size of an ant. As Lucas is brought to face justice, the Ant Queen (an ethereally voiced, Meryl Streep) decrees that he be taught the life of an ant before returning him home because it takes a village to raise a kid and it apparently also takes a village to educate misguided little boys.................\r\n\r\nContinued at\r\n\r\nwww.moviexclusive.com/review/antbully/antbully.htm','c409ced680b9637bc946c50ffd85d21e',0,'','7ERX2PCW',1,0,'',0,0,0),(11772,2125,3,1,0,'69.120.114.47',1154899020,1,0,1,1,1,1,'justindeimen','My Super Ex-Girlfriend (2006)','\r\n\r\nA romantic comedy with a superhero is a great concept. My Super Ex-Girlfriend is written by television-writer Don Payne (which makes sense) and directed by veteran comedy director, Ivan Reitman (Ghostbusters, Evolution), whos no stranger to mixing up the genres. With a premise as great as that, it manages to succumb to its lofty ambitions and become an adequately interesting story that was jazzed up by a creative mind and a fantastic performance. Although plagued by formulaic set-ups and the well-worn banality of predictable characterisations, it still manages to deliver a fun little flick. \r\n\r\nIt adopts the superhero and romantic comedy clichs and makes it a hybrid thats intriguing in how it plays out but is not exactly inspired material. It just takes a tired genre and gives it an exciting new makeover in the form of G-Girl (Uma Thurman), a carbon copy of Superman right down to her Clark Kentish alter ego, the frumpy bookish curator Jenny Johnson. She meets Matt Saunders (Luke Wilson), a blander-than-vanilla, all-round nice guy architect who saves her handbag from a mugger. From there, we get the bittersweet getting-to-know-you stage where he finds a paranoid, jealous and overly neurotic side of her. \r\n\r\nAfter he dumps her, he becomes victim to her constant annoyance and you never ever want to get a superhero aggrieved. Uma Thurman is an absolute delight in the movie. Although you could argue that her titular role is mildly supporting, with Luke Wilsons being the central chump, her commitment to her characters neurosis is undeniable and often illuminating. Throw in a subplot with an evil villain and youve got yourself a silly film with the right mixture of screwball and sentiment. \r\n\r\nRounding off the cast is the more annoying than usual horny but clueless best friend (Rainn Wilson), the coquettish new girlfriend (the always charming Anna Faris) and top-drawer comic talents in Wanda Sykes (in absolutely pointless scenes) and Eddie Izzard playing Matts boss and G-Girls arch-nemesis respectively. The ace comic talents and seasoned rom-com performers seem bored and jaded by their roles, but still pull off an ample job. \r\n\r\nSo despite a few faults, it manages to graft out some heartfelt and genuinely amusing chuckles. If you think you know what youll be getting with this film, youre not bound to be surprised (unlike Click), its like Coke with its new lime twist, a familiar but interesting taste.\r\n\r\n3/5\r\n\r\nJustin Deimen','3c2a8b16442fc6f098c0f6d4fbbd0e4b',0,'','WiZlBGxs',1,0,'',0,0,0),(11773,2125,3,1,0,'69.120.114.47',1154899260,1,0,1,1,1,1,'wpqx','Re: My Super Ex-Girlfriend (2006)','This looked slightly interesting, but it will be a long time before I sit through it, unless for some unforseeable reason I get dragged to it by someone.','6ee9e345c9b590087b5b088ce506baf9',0,'','jMwBbckh',1,0,'',0,0,0),(11774,2125,3,1,0,'69.120.114.47',1154899620,1,0,1,1,1,1,'justindeimen','Re: My Super Ex-Girlfriend (2006)','If you\'re tired of the genre, you might be better off waiting for a rental. But if you like Uma, this shouldn\'t be put off any longer. It\'s her movie from beginning to end.','5e9c76bf8a76e4c661b64802092aae39',0,'','bBkqGLjh',1,0,'',0,0,0),(11775,2125,3,1,0,'69.120.114.47',1154936520,1,0,1,1,1,1,'wpqx','Re: My Super Ex-Girlfriend (2006)','Oh I definetly don\'t plan on catching this one in theaters, and I\'m rather indifferent to Uma, I would however take Luke over Owen Wilson.','35ee6c34796b9eba46c4902e2925243d',0,'','0exZBjvX',1,0,'',0,0,0),(11776,2126,3,1,0,'69.120.114.47',1154709180,1,0,1,1,1,1,'justindeimen','An American Haunting (2005)','An American Haunting\r\n\r\n\r\n\r\nReview:\r\n\r\nThe Bell Witch is a legend based on true documents of the only case in US History where an entity caused the death of a man and a folklore that\'s still as strong today as it was back then. It\'s been the subject of various paranormal researchers and historians, some even swearing that they\'ve seen the Bell Witch and her apparitions till this day. \r\n\r\nAn American Haunting encompasses 2 generations of families; although the Bell family in 1817 receives the most screen time than the contemporary portrayal that sets up the legend of the Bell Witch. With its predictable true story label slavishly tagged on to give it some smidgen of credibility. The family in the future, bookends the narration of the events that started the lore. Its a tacky framing device that reeks of an anemic and frail script from creative abjection.\r\n\r\nIt\'s unfortunate that such a truly incredible and chilling tale of revenge, torture and evil has boiled down to what essentially is a PG weekend fright-flick intended to bring in young cineplexers as well as audiences willing to revel in a good ol\' forgettable boogeyman story. Dousing us with Tennessee period atmosphere and commendable set designs, the heavy pretense bogs down its 2 most veteran thespians\' talents with a tarnishing waft of self-importance.\r\n\r\nSissy Spacek and Donald Sutherland are John and Lucy Bell, in 1817 and proud parents of the marriageable Betsy Bell (Rachel Hurd-Wood) and the John Jr. (Thom Fell). They are the foci of the narrative, which constantly carries an air of portentous foreboding. Supporting characters include Richard Powell (James D\'Arcy), suitor apparent to Betsy who solders onto the family as if he was already married to her. \r\n\r\nThe inconsistent characterisation of Sutherland\'s John Bell is a aching and sore point. To believe he was dishonest would be difficult due to his obvious endearment towards his family. His character goes through revolutions of character changes that\'s awkward and contrived to fit a scattered and disorganised screenplay that was trying to fit in as many documented \'accounts\' of the Bells as possible. To his credit, the mileage of the film\'s many supernatural vivacities is bitterly shown on Sutherland\'s final diminutive state. Spacek plays an impassive role, the rangering the family as both her husband and daughter are slowly and cruelly abused. Second fiddle to Sutherland, she plays it the best she can with intense and covert glances of feeble moroseness. \r\n\r\nThe chemistry between the Richard and Betsy, non-existent as it is, still plays an important part in understanding the dynamics of those trapped in the house with a vengeful spirit. He is her sole comfort. Richard, who\'s also Betsy\'s teacher portrays an underlying pride in his intellect and belief in science. It\'s the first time his knowledge of the world has failed him, as he sees his betrothed, be thrown about like a rag doll as the spirit habitually targets and possesses her nightly. She\'s burdened with the brunt of the spirit\'s unexplained but undeniable fury.\r\n\r\nThere\'s a distinct lack of progress in the film. Running scare-gags include, creaking floorboards, unnatural convulsions and physical abuse by the \'affected\' and now-you-see-it, now-you-don\'t visual devices. It becomes obvious halfway through the film that the director has no clue on how to sustain the tense moments that he begins to stage, usually with the help of a loud sound. All in all, its a sad attempt to imitate a similarly themed Exorcism of Emily Rose, which actually had depth and a deft touch beneath its well-worn exterior\r\n\r\nAlthough much is said about the theories bandied about the Bell Witch\'s true intentions with the Bell family, no one has conclusively stated who and why the entity haunted them. Most of the theories are conjecture and flippant suppositions. And thats An American Haunting\'s biggest flaw. It\'s final reveal is so aggravating anticlimactic and flimsy, it\'s not going to please or placate anyone who wanted something minutely plausible that\'s analogous with an actual horror story. It\'s not something that needed condescending social commentary.\r\n\r\nRating: 2 out of 5\r\n\r\nJustin Deimen','e172f312a7d0fee0fd7af6da05d01a85',0,'','l7w2ey0B',1,0,'',0,0,0),(11777,2127,3,1,0,'69.120.114.47',1154703120,1,0,1,1,1,1,'justindeimen','The Exorcism of Emily Rose (2005)','Just for posterity.\r\n\r\nReview:\r\n\r\nExorcism. It screams at us from the posters, the trailers and even when whispered to us. That word single-handedly propelled this films entire marketing campaign as it gave us flashbacks to William Friedkins 1973 masterpiece, The Exorcist. Not since then has anyone attempted a legitimate claim to reignite this contentious style of psychological horror rooted in theology and faith. Last years Exorcist: The Beginning fell short as it became a farce to the already abused legacy of Friedkins original. \r\n\r\nRealising the unmilked potential that lies beneath the mysticism of spiritual possession and its appeal to sceptics and believers, movie executives have come up with The Exorcism of Emily Rose. \r\n\r\nFather Moore (Tom Wilkinson) is charged with negligent homicide after an unsuccessful exorcism on Emily Rose (Jennifer Carpenter) led to the 19-year-olds death. His defense attorney, Erin Bruner (Laura Linney) is a career-driven, self-proclaimed agnostic who needs to play down the media hysteria over this case to secure a senior position in her law firm. As she delves further into the case, however, she starts to doubt her own beliefs and begins to fear what she never thought could exist. The films antagonist, Ethan Thomas (Campbell Scott), is the religiously devout district attorney, adamant that mental illness was the sole reason for Emilys erratic behaviour in the weeks leading to her death. He is also convinced that the cause of her demise was brought about by Father Moores role in discontinuing Emilys medication. \r\n\r\nJennifer Carpenter, whose most notable role before this film was in White Chicks as a spoilt rich girl, gives the strongest performance of the cast as the nave young college freshman attacked by malevolent forces. She later transforms into a frenetically possessed girl tortured by something nobody is able to comprehend. The 180-degree turnaround playing the films titular character has even earned her a compliment from her accomplished co-star, Linney, who calls her the finest young actress that she\'s ever known in publicity interviews given shortly after the films release in the United States. \r\n\r\nBilled as the first courtroom horror film by its director, Scott Derrickson, it certainly provides an interesting take on religion, the judicial system and psychology. Derricksons storytelling is convoluted at points as it switches between the past (through flashbacks of Emilys possession and eventual death) and the present courtroom conflict.\r\n\r\nDue to its narrative nature, the film constantly finds itself in 2 minds. From the first impressions of its Oscar-nominated cast of Linney and Wilkinson, its easy to see that the movie wants the viewer to take it seriously. Throwing in dashes of current social commentary such as the legality of the Churchs doctrines as a plausible defense without bordering on religious persecution is aptly highlighted during the current climate of polemicising over the governments role in religion. Unfortunately, it offers more questions than answers for these contemporary matters.\r\n\r\nHowever, the version we saw in the trailers is the archetypal summer horror blockbuster that uses cheap shocks and clichd scare tactics like cryptic clocks, loud screeching wails when cutting to ghoul-faced shots, and sourceless winds blowing doors wide open. Subplots, such as Father Moores and Erins own uninspired haunting by these evil spirits as they work on the case, are scattered throughout the film. Regrettably, the film falls into temptation by using such schtick to get its point across as the danger in combining 2 different genres together with 2 different pacing leads to a classic case of doing too much with too little time. \r\n\r\nThe failure to give more insight into the main characters also cheapens the roles as we never fully understand Erins own initial prejudice against spirituality or even Emily Roses religious convictions as she is dragged into becoming the new Joan of Arc.\r\n\r\nA series of dichotomous motifs are presented in the film, such as Good vs. Evil, Law vs. Religion, Sceptics vs. Believers etc. Given the wealth of material in which the film could have chosen to make a stand, it manages to completely disregard them in its conclusion by short-changing itself and the viewers. In hoping to please everybody, it ends up satisfying no one. \r\n\r\nThe Exorcism of Emily Rose cant be called a bad film by any means. In many aspects, it is a solid movie; with good acting throughout, and with enough restraint to prevent it from going over the top. Hardly reaching the pinnacles of The Exorcist, its true story label seems to have been stuck on to achieve some sense of credibility. \r\n\r\nIt is however, a welcome addition to a horror market thats flooded with mediocre Japanese and Korean movies and predictable Hollywood fare. When not taken seriously, it will entertain you enough for the night but those hoping to be perplexed by its spiritual connotations will have to wait for a worthy successor to The Exorcist.\r\n\r\nRating: 3 out of 5 stars\r\n\r\nJustin Deimen','b2a682d9405c804d8488323d2f9d9949',0,'','sgoR2Qqm',1,0,'',0,0,0),(11778,2128,3,1,0,'69.120.114.47',1131934140,1,0,1,1,1,1,'wpqx','Derailed (2005) - Mikael Hafstrom','Ever see a particular pair of actors and think they have no chemistry together? Well Clive Owen, who\'s rarely if ever believable as a romantic lead, is paired with Jennifer Anniston, who\'s NEVER believable as a romantic lead. So put the two together in a movie, and you get absolutely no chemistry whatsover. Thus begins the problem of Derailed.\r\n\r\nNeither Owen or Anniston have an irresistable appeal to them, and I found little to no charm in Anniston. Unfortunately people always seem to walk into stories of affairs with a degree of \"I\'ve seen it all before\" and films have to work extra hard to work. True, this film does have a few twists and turns, but this is the type of picture that belongs on Showtime at Midnight rather than in a mainstream movie theater.\r\n\r\nVincent Cassell plays a heel a little too well, but I don\'t believe he has the right amount of charisma for this picture. The main highlight comes from RZA, who plays Winston the mail room attendant in Owen\'s office with a strange love of hockey. RZA isn\'t the only rapper making an appearance, Xzibit plays Cassell\'s cohort, who happens to be a thug because his rap career hasn\'t exactly taken off.\r\n\r\nStill these supporting roles don\'t do too much for the film. As usual there\'s too much \"Why doesn\'t he just tell the truth?\" questions here that make things a little disinteresting after awhile. \r\n\r\nGrade D+','b83a31e4f097a489fd34ef9c890c182f',0,'','f4l9qgrn',1,0,'',0,0,0),(11779,2128,3,1,0,'69.120.114.47',1154392020,1,0,1,1,1,1,'trevor826','Re: Derailed (2005) - Mikael Hafstrom','I must admit as soon as I saw Jennifer Aniston was in it I wasn\'t expecting much, Clive Owen pretty much finished it off. I did give it a fair shot but it was a hard slog making it through to the end.\r\n\r\nNever again.\r\n\r\nCheers Trev.','8ddd74893d8adff45cbb2685af3acabe',0,'','ng2X1CwK',1,0,'',0,0,0),(11780,2128,3,1,0,'69.120.114.47',1154415360,1,0,1,1,1,1,'wpqx','Re: Derailed (2005) - Mikael Hafstrom','I remember seeing the film with my then girlfriend, and the biggest shocker of all was when they got that hotel room for $30 a night, when two weeks before we spent nearly $180 for a room, also in Chicago. Obviously there hotel room got robbed, so it wasn\'t a good deal, but it would have been worth it to save $150. I forgot how anti-Anniston I was. She\'s gotten slightly better with her film work in 2006, but not really enough to make me think she\'s anything close to a decent actress.','9732aae25e4ee7f64a56203120875403',0,'','W4ljpTfR',1,0,'',0,0,0),(11781,2129,3,1,0,'69.120.114.47',1153935240,1,0,1,1,1,1,'justindeimen','Hostel (2005)','\r\n\r\nReview:\r\n\r\nLions Gate Films, a Canadian based subsidiary of Lions Gate Entertainment, is getting quite the reputation of producing and distributing low-budget blockbusters for the North American audience as well as for the overseas market. Its knack of taking educated risks with controversial films has paid off handsomely. Most recently, Crash won Best Picture at the Oscars, adding to its many other accolades. Among some of Lions Gates other films are the Saw franchise. Reigniting audiences craving for copious sanguinary fury, the film pushed boundaries in acceptable violence in even R-rated feature releases. \r\n\r\nNow, a similarly themed film has been released in Hostel, a Quentin Tarantino signature film. The US$5 million production has gone on to make over US$60 million in its domestic box office (prior to DVD sales), while debuting at No. 1 in a crowded and heavily vied January period. To put its appeal into perspective, Hostel debuted at the top spot in the box office while out-earning both Chronicles of Narnia and King Kong. Both movies had a total budget that was 100 times the amount Hostel was made on.\r\n\r\nThe plot plays out like an urban legend told to ward off youths from succumbing to debauchery and misogyny. 3 young men travel to red-light districts in Europe with the simple intentions of anonymous sexcapades and rampant drug use. 2 of these men are obnoxious American fratboys and the other, an Icelandic lout named Oli (Eythor Gudjonsson) whose insufferable attitude towards the opposite sex pays off more often than not. They jump from brothel to nightclub sowing their wild oats. Their foray into decadence takes a turn for the worst when they get locked out of their hostel after a wild night in Amsterdam. \r\n\r\nWhile finding a way to safe quarters, they happen upon a local who tells them of a hostel in Eastern Europe with the cheapest, easiest and most beautiful girls from all over the continent who go crazy for Americans. This promise land lies in Bratislava, Slovakia. En route, they meet a Dutch businessman (Jan Vlask) who also regales them with stories about the girls and the assured depravity that abounds in Slovakia. Imagine a much more explicit version of Eurotrip without the comedy or the likable characters and youll be able to picture the films first act.\r\n\r\nSufficiently enticed they make their way to the hostel that houses their every fantasy. Just as soon as they are greeted with nudity, sex and alcohol, things start to go wrong when Oli disappears. Both Paxton (Jay Hernandez) and Josh (Derek Richardson) are left dumbfounded by his abrupt departure as they are led to believe. As they solemnly party on their final night, they are separated and Paxton finds himself alone. He makes his way through town, alone and very far away from California. \r\n\r\nAfter tracking down his date from the night before, he is led to a huge compound where he finds the Dutch businessman sewing up Joshs torso. Hes then forcibly handcuffed to a chair and wakes up unconscious in a room. A hesitant man with a chainsaw stands over him and in a series of comedic errors, Paxton loses 2 fingers but gains his freedom from the room. As he makes his way out of the veritable abattoir while being chased by burly bodyguards, he slowly realises that hes caught up in something more deviant and sinister than just murders. The compound is a business run by a charnel group of mobsters thats catered to wealthy foreign tourists who participate in torture and snuff rituals with kidnapped victims.\r\n\r\nAny film carrying Quentin Tarantinos imprimatur is not to be taken lightly and not to be overlooked when it appears no less than 5 times in the credits. His recent and most mainstream films, Kill Bill Vol. 1 and Vol. 2 as well as earlier classics such as Reservoir Dogs and Pulp Fiction redefined executions and torture situations for the modern audience. A stamp of approval from Tarantino demands overly wrought death scenes and plenty of cosmetic blood spurting from dangling limps. Although popular, they bear the nebulous distinction among some critics of popularising tasteless substance wrapped within stylised gloss. \r\n\r\nHowever, the real mastermind of Hostel is writer-director, Eli Roth. His previous film, Cabin Fever was the highest earning horror movie of 2002. Roths penchant for horror and violence had Premiere Magazine calling him the future of horror. Slowly fulfilling that promise, Roth has followed up from his auspicious debut and has crafted Hostel into an unhinged showcase of gore and suspense thats refreshing and actually quite scary. The matter-of-fact disemboweling and unflinching looks at newly made crevices in a human body is typical of the man. The graphic expulsion of fluids after the vivisecting and eviscerating of body parts is just part of his charm.\r\n\r\nRoth unquestionably refuses to compromise as he finds unique and unapologetic ways to torture his characters while digging through their exterior shell (quite literally in some scenes) and into their inner psyche of fear and helplessness. It borders on Roths unstated objective of pushing boundaries and forcing a reaction from his audience when a scene reaches its gruesome payoff.\r\n\r\nQuite possibly an indictment on humanitys venal nature, we see dirty cops turning away from the house of horrors, locals leading unsuspecting backpackers into certain doom and most prominently, bored and wealthy men that relinquish both money and their conscience to act out their sadistic fantasies. Perhaps it also points to xenophobia and cultural elitism when we see Americanism in all its arrogance through the parochial and over-sexed mentality of the leads towards the locals in the opening act. Maybe thats why they fetched the highest price?\r\n\r\nAlthough not as much a psychological horror flick, the 1-dimensional and unlikable characters presented never fully lets us root for them even when sweet retribution is expectedly dished out to the men that murdered without distinction. Sure, we feel suspense and a sense of empathy when the backpackers face impending agony but thats because nobody should have to be tortured in the manner depicted. \r\n\r\nThere are 2 great cameos in the film in a space of 5 minutes. Both are masters of horror and both inspirations as well as fans of Roth. In the bar scene when Paxton finds his date, a hardly recognisable Quentin Tarantino sits in front of her. For Asian horror enthusiasts, Takashi Miike plays a caricature of himself an ardent patron of the slaughterhouse, when Paxton first reaches the compound. Not quite overt, but both cameos pay tribute to Roths inspiration for the films concept.\r\n\r\nWhile pushing censors to their limits is commendable on its own merits, Hostel manages to inject valid subtexts, albeit flawed and mishandled. It lives up to early expectation of being 1 of the most visceral experiences in cinema for the past few years. Its premise is frighteningly plausible, as paralleled in films like 8MM where exploitation of desperate human beings for the rich and willing is kept hidden away from society.\r\n\r\nRating: 3 out of 5 stars\r\n\r\nJustin Deimen','9c0bf48c76b5d4efb4f1d1f2279a2fa1',0,'','gPnMqE5N',1,0,'',0,0,0),(11782,2129,3,1,0,'69.120.114.47',1153977360,1,0,1,1,1,1,'hengcs','Re: Hostel (2005)','I have watched it some time ago (ONLY because of the hype).\r\nHowever, I have procrastinated watching it again and again because I do not like paying money to scare myself.\r\nFinally, I was \"convinced\" by a friend to watch it on the last day or so.\r\n\r\nOur conclusion: Not as scary as we thought, but the \"idea\" of it is still VERY haunting. Do you still dare to go backpacking and drinking?! scary scary ...','8c60456a8dd450d7da59aafcd7c9db37',0,'','tSj8Q9Ax',1,0,'',0,0,0),(11783,2130,3,1,0,'69.120.114.47',1153919160,1,0,1,1,1,1,'justindeimen','Napoleon Dynamite (2004 / USA)','I searched for this movie in the index, noticed it wasn\'t there so I thought I\'d do a review. I know this is a love-it-or-hate-it type of film, so right off the bat, I\'ll say it. I love this film. It\'s a review I had in my harddrive for awhile so it could seem dated and less informed now that Hess and Heder have moved on to bigger but not-better things.\r\n\r\n\r\n\r\nReview:\r\n\r\nRemember that one guy in school that used to annoy you? Who could ever forget the ever outcasted misfit, the one who was picked on by the bigger kids and the smart nerds just for existing among us. Doesnt just thinking about his antics right now bring a smile to your face? From first time writer-director, Jared Hess and his wife Jerusha Hess comes 2004s most original and charming comedies, Napoleon Dynamite.\r\n\r\nFar from being a movie about Elvis Costello (back in the 80s, he released an album Blood and Chocolate under the pseudonym, Napoleon Dynamite) and music, it events the days and the nights of eponymous high-school pariah Napoleon Dynamite and his equally dysfunctional friends and family. Its unique qualities does not shine through in its plot but instead in its characters. The oddball characters stand out like rejects of American Idol while the normal ones look on judgingly.\r\n\r\nNapoleon is played to perfection by a talented Jon Heder and accepts his lowly existence with a clueless gaze that can only be described as a trademark stare of a lobotomy victim. Set in the dull midwestern town of Preston, Idaho, the story pivots around the trials and tribulations school adolescence of Napoleon and his new Hispanic best friend that just moved into town, Pedro (Efren Ramirez) who are preparing to find dates for the upcoming school dance and in the process seize the title of Student Body President from popular snob, Summer (Haylie Duff). \r\n\r\nIn the hands of Hollywood, this movie would reek of unoriginality and disrespect to more discerning audiences. However, the film was handled with care by Jared Hess considering the amount of detail that went into the retro costumes that kept me wondering if the films characters were caught in an 80s time warp.\r\n\r\nCertain storylines threatened to be cliched, such as the school campaign for President, were intertwined with different and heartfelt plot threads that helped keep it fresh such as Napoleons brother Kips (Aaron Ruell) cyber romance with his online chat buddy and his slimy-as-a-snake, ex-jock Uncle Rico (Jon Gries) who will do whatever (even peddle herbal breast enchancements to local women) to achieve his dreams of sports greatness. Napoleons love interest is Deb (Tina Majorino), who tries to sell things door-to-door to fund college. \r\n\r\nNapoleon Dynamites main pull is that it has mainly used under-exposed actors on a shoe-string budget defining the indie fairytale. It has also enabled the director to showcase a genuine cast lead by Jon Heders remarkably understated performance. Each character is made to be interesting as they all have a niche and they are unaware of their idiosyncrasies. Its humour is simplistic and absurd at best and appeals to our guilty desire to laugh at others who seem less evolved than us. If that sounded crass, we have to distinguish that we do not laugh at Napoleons individualism, we laugh at him because we recognise him in someone we know and appreciate them for it.\r\n\r\nAs a $400,000 movie that received applause from everyone at Sundance to the sleeper box-office hit in the United States that earned over $45 million, Napoleon Dynamite proves that indie productions do not just appeal to the artsy moviegoer but to everybody, and everybody loves an underdog. Hollywood could have never came up with something this subversive, yet poignant and most importantly different film such as this cinemas should take note and bring us these gems sooner. \r\n\r\nJustin Deimen','04372a9d0cf830ae745b1160676dba28',0,'','zMi8oLHQ',1,0,'',0,0,0),(11784,2130,3,1,0,'69.120.114.47',1153938060,1,0,1,1,1,1,'wpqx','Re: Napoleon Dynamite (2004 / USA)','Well I asked for someone who liked it to offer some commentary, and you did. I still say I found the film pointless and vastly overrated by the majority of people in my age group. There was a certain Todd Solodnz appeal to it, but far too family friendly.','f82e581ebcec61b742e7dffe33751ae2',0,'','xn1A6Uuf',1,0,'',0,0,0),(11785,2130,3,1,0,'69.120.114.47',1153941540,1,0,1,1,1,1,'justindeimen','Re: Napoleon Dynamite (2004 / USA)','I find that its pointlessness is its appeal. Characters in a town that is out-of-touch with reality, going through their days especially touching on the kid that even the weird kids think is weird. It\'s heartening to know that their lives or personalities aren\'t ever going to change, because of that thin layer of innocence they have by sticking to the things they know and the things they were brought up and around with. I didn\'t want Napoleon to go through a big change, I liked him just the way he is. I absolutely adored that it was family friendly. Finally something I can watch with the family, with humour that they can actually understand right of the bat because the characters and their personalities just speak for themselves.','b798f1dece7b4385fdc22c33a3898070',0,'','jWtXPBZo',1,0,'',0,0,0),(11786,2131,3,1,0,'69.120.114.47',1153274220,1,0,1,1,1,1,'A','Human Nature (Michel Gondry / USA, France / 2001)','It seems that I just can\'t find any time recently to visit the board or do any other film related stuff. I hope this will change trememndously, if I\'m accepted in Media Studies at University in October \r\n\r\nAnyway, here are a few older notes I found on Kaufman\'s Human Nature. Not much, but maybe enough for some discussion. It seems like this is one of \"his\" more neglected films.\r\n\r\nHuman Nature (Michel Gondry / USA, France / 2001) \r\n\r\nAn above-average script that deals in a clever way with the concept of civilization. \r\nThe filmmaking itself is only standard, and too playful for its own good. The ending shot is beautiful though, and the story has much food for thought, and complex things going on on the films fringes which aren\'t developed at all.\r\nWorth watching, but far from the masterful Eternal Sunshine of the spotless mind which has similar weaknesses, that are nevertheless totally compensated by an at times \r\nimprovisational and documentary quality which is missing here.\r\nBut still a film worth watching.\r\n_________________________________________________\r\n\r\npersonal rating: 67 out of 100','8deaf186a157049c77299a1bde37b059',0,'','QlSY9BZV',1,0,'',0,0,0),(11787,2131,3,1,0,'69.120.114.47',1153276740,1,0,1,1,1,1,'trevor826','Re: Human Nature (Michel Gondry / USA, France / 2001)','I can\'t remember a great deal about \"Human Nature\" but must admit that I loved \"Eternal Sunshine of the Spotless Mind\". \r\n\r\nHave you seen the compilation dvd of his music videos and other assorted bits and pieces A? It\'s well worth seeking out with work for Bjork and many more, very good and very entertaining.\r\n\r\nCheers Trev.','62630a237989032073489585fa4a9a9a',0,'','jDZKegbu',1,0,'',0,0,0),(11788,2131,3,1,0,'69.120.114.47',1153509780,1,0,1,1,1,1,'A','Re: Human Nature (Michel Gondry / USA, France / 2001)','Haven\'t seen the compilation, but I\'ve seen most of his videos on TV. Admired him already back in those days, and my respect has only grown through watching Eternal Sunshine of the spotless Mind numerous times.','ca20af649fb685600929568aeb9bf42f',0,'','R8e4ph6a',1,0,'',0,0,0),(11789,2131,3,1,0,'69.120.114.47',1153510260,1,0,1,1,1,1,'wpqx','Re: Human Nature (Michel Gondry / USA, France / 2001)','I\'m certainly looking forward to his new film, which of course I forgot the name of, but apparently its coming out here in the US in September.','f286d7b3ade0ba463cd3bd0287ed087d',0,'','z56HT7hD',1,0,'',0,0,0),(11790,2131,3,1,0,'69.120.114.47',1153517160,1,0,1,1,1,1,'A','Re: Human Nature (Michel Gondry / USA, France / 2001)','Yeah, it was sold out at the Berlin Film Festival this year, so I am still waiting for it. But responses haven\'t been too enthusiastic, so far (at least not in comparison to Eternal Sunshine...). And after seeing Human Nature, I don\'t think Gondry as a director plays in the same league as Spike Jonze.\r\nNevertheless I\'d love to love it.','18fe96cd9856958cc7a8ef436ab960b8',0,'','PfzcNb45',1,0,'',0,0,0),(11791,2131,3,1,0,'69.120.114.47',1153526040,1,0,1,1,1,1,'wpqx','Re: Human Nature (Michel Gondry / USA, France / 2001)','Looked awfully similar to Eternal Sunshine, so I\'m not sure if it will be equally as impressive, or disappointingly derrivative. Speaking of him as a director, I still haven\'t watched Dave Chapelle\'s Block Party, but I do own the DVD, so there\'s hope yet.','4ff42316490e0f899b0fa601f1329a36',0,'','qXBgAWjP',1,0,'',0,0,0),(11792,2131,3,1,0,'69.120.114.47',1153614660,1,0,1,1,1,1,'A','Re: Human Nature (Michel Gondry / USA, France / 2001)','I don\'t want to sound like Gondry isn\'t a good director. Just not the genius, you might think he is after watching Eternal Sunshine...\r\nI\'ve seen Dave Chapelle\'s Block Party, and the direction was by far its weakest point (same as with Human Nature). But I can recommend it wholeheartidly.\r\nIf it wouldn\'t have been for the loss in focus during the 2nd half of the film, it would be one of the best of 2006.','a6987a8116244f329a384f9a4ae81f60',0,'','fnK1Bhcj',1,0,'',0,0,0),(11793,2132,3,1,0,'69.120.114.47',1123265280,1,0,1,1,1,1,'trevor826','Imaginary Heroes (2004)','Directed by Dan Harris\r\n\r\nStarring Sigourney Weaver, Jeff Daniels\r\n\r\nThis film that could have easily been a TV movie but for the quality of the casting. The basic premise; a familial tragedy causes the collapse of an already dysfunctional family, the father has no idea how to communicate with his children, his wife or even himself. The mother puts on an air of being completely oblivious to the facts, one daughter is in University (shes lucky to be out of it) and the son is so full of his own problems and angst that although he can see whats happening and shares a close bond with his mother, he doesnt want to have to deal with the problems.\r\n\r\nIts a good representation of a middle class family in crisis, it is also obvious that the family has been on the verge of collapse for a long time, a complete communication breakdown and a total lack of respect pervades the air only to be accentuated by the tragedy, comments that seemingly have no meaning are daggers to the heart when the truth eventually spills out and guilt is borne by a couple of members of the family who both feel that they could/should have prevented the tragedy.\r\n\r\nSo any problems? Due to the nature of the set up, Sigourney Weaver kept reminding me of her similar role in The Ice Storm. As for the son, half the time he looked as though he was trying to do an impression of Donnie Darko, so not a bad film but an above average dysfunctional family in crisis drama, not as good or interesting as The Ice Storm, Donnie Darko or American Beauty but generally very fine casting.\r\n\r\nClassic quotes:\r\n\r\nSpeech at the High School graduation These were the best years of our life. At least that\'s what they told us. Personally, I hated high school. I hated all of you and I hope you all rot in hell!\r\n\r\nCheers Trev\r\n\r\nBBFC rating 18','17cfbae2b00145703625adb9d1ff3e1b',0,'','G6RmiZu5',1,0,'',0,0,0),(11794,2132,3,1,0,'69.120.114.47',1153486140,1,0,1,1,1,1,'justindeimen','Re: Imaginary Heroes (2004)','Saw this last night.\r\n\r\nWell I agree with you that the casting helped it immensely. I found it had some great sequences and was a pretty solid film overall.\r\n\r\nHowever, it veered towards melodrama at the end, eradicating its neutrotic vibe that it had in the beginning. I also found it cluttered with the subplots of the girlfriend and his best friend and his mother\'s friends etc. I understand how Dan Harris was trying to create issues that teenagers dealt with especially around the context of a tragedy but I felt he tried to do too many things that didn\'t exactly have the emotional resonance that it should have had. \r\n\r\nThe character of Tim, played by Emile Hirsch also felt like he was dithering between a worldly teenager who knows his predicament is temporary and a victimised one who finds no hope. It can\'t be both, especially since those frames of mind are definite and not analogous.\r\n\r\nFinally, the ending was a little too much as well as too little. So the revelations came thick and fast but where was the impact, the fallout? If slightly longer with a bit more tightening, I think we would have had a gem on our hands.\r\n\r\nJustin','ec83f94e31176ee90cebfdaf3b86dbb0',0,'','JGBngNKa',1,0,'',0,0,0),(11795,2133,3,1,0,'69.120.114.47',1153485480,1,0,1,1,1,1,'justindeimen','The Libertine (2004)','My review of The Libertine.\r\n\r\n\r\nSynopsis:\r\n\r\nThe story of John Wilmot (Depp), a.k.a. the Earl of Rochester, a 17th century poet who famously drank and debauched his way to an early grave, only to earn posthumous critical acclaim for his lifes work.\r\n\r\nMovie Review:\r\n\r\nJohnny Depp is, right at this moment, the biggest movie star in the world. Hes a bona fide heartthrob, an alpha male and has a practical and down to earth approach to his stardom. He is also the bravest movie star in the world. Taking on the odd roles, daringly contrary to his image. And he revels in them while being refreshingly grateful for the opportunity to perform them. After the thundering success of the first Pirates of the Caribbean, he took on various roles including but not limited to his memorable portrayals of Willy Wonka in Charlie and the Chocolate Factory and Sir James Barrie in Finding Neverland. These films were fated with the good fortune of expeditious commercial releases, which was not the case for The Libertine as it was plagued with financial and distribution troubles early on. But finally, it has arrived on our shores.\r\n\r\nDepp portrays The Libertines mainstay, the historical figure of John Wilmot, the Second Earl of Rochester who was a sinner compared even to the Marquis de Sade. Asking for a succinct description would be complicated, but I will try. That said, it is very much a companion piece to Jack Sparrow, sans the absurdity. Also included is the minor and forgivable snag of his tacky accent that sounds like it was straight out of a Hallmark period piece. But therein lies sincerity in Depps depiction of a brilliant but fundamentally flawed man who reverberates the solitude and audacity felt in many of the greatest talents the world had, including Marlon Brando, to whom this film is dedicated....\r\n\r\nContinues at\r\n\r\nwww.moviexclusive.com/review/libertine/libertine.htm\r\n\r\n------------------------------\r\n\r\nI thought it was good not exactly as good as it could have been. Saved by its perfomances, you could say.','a9027b3b6e55457d960b0870a0d33aab',0,'','b4G1ue5E',1,0,'',0,0,0),(11796,2134,3,1,0,'69.120.114.47',1134907260,1,0,1,1,1,1,'hengcs','Brokeback Mountain (2005)','\r\nDirector: Ang Lee\r\nCast: Heath Ledger, Jake Gyllenhaal\r\n\r\nThe official website\r\nsee\r\nwww.brokebackmountain.com/\r\n\r\nMy thoughts ...\r\n-- Wow, it is one of those films that you go for the acting and cast! Heath is excellent, but so are Jake and the rest of the cast ... go for it! It is one of those films that you go to FEEL for the characters (as the plot is simple enough and not many events happen) ... so please have an open mind ... if you feel for the characters, you will think it is an excellent film; otherwise, you will wonder why the pace is so slow and what all the hype is all about ...\r\n-- I like the tagline \"Love is the force of nature\" ... well ... to me, it has a pun, their love are ignited by the force of nature (the external environment) as well as their own force of nature (their internal desire) ... excellent! Yet, their love are also bound by their external environment (time and place) as well as their own internal environment (feelings and emotions) ...\r\n-- Despite being an independent film, it looks great cinematographically! wow ...\r\n-- I also like the score and song ...\r\n\r\nWhat could be better ...\r\n-- Hmmm, the marketing ... frankly, it is not a gay cowboy film nor an old Western film ... cos it is much more than that ... \r\n\r\nConclusion:\r\n-- Highly recommended ... but please go with an open mind ... cos it is so much more than just a story about two gay cowboys ...','4d954437d0908b4ce1b92306ef5433dd',0,'','ZdnzBsAW',1,0,'',0,0,0),(11797,2134,3,1,0,'69.120.114.47',1134976140,1,0,1,1,1,1,'Unregistered(d)','Re: Brokeback Mountain (2005)','\r\nReally great movie, I basically went to see this cuz it was by Ang Lee. But pleasantly surprised by the acting, Ledger\'s wife in the film, Michelle Williams has a great supporting role. But the king pin here is Ledger, we haven\'t seen a great stone face like this since, Anthony Hopkins\' turn in The Remains of the day. And the movie probably has more in common with this film, rather than your typical western.\r\n\r\nAs for the marketing campaign. I think they have be totally up front about this, in heartland America homosexuality is viewed as a crime against God and nature.','04eeaa1fb92d480dcbe07f868704ab46',0,'','lNeQ25g7',1,0,'',0,0,0),(11798,2134,3,1,0,'69.120.114.47',1134977880,1,0,1,1,1,1,'hengcs','Re: Brokeback Mountain (2005)','\r\nInterestingly, many reviewers forgot to mention that Ang Lee also had an earlier well known film about gays too ...\r\n\r\n* drum roll *\r\n\r\nThe Wedding Banquet ...','ca24f90ca38fa8c48410c57a45cbe86a',0,'','dsHUDeoT',1,0,'',0,0,0),(11799,2134,3,1,0,'69.120.114.47',1135976700,1,0,1,1,1,1,'wpqx','Re: Brokeback Mountain (2005)','Well my verdict is this, overrated. I wasn\'t surprised, I mean hard for any film given this much insane praise to measure up. People seem more interested in praising the subject matter than the actual film itself, just as I believe the Crying Game was vastly overrated. Ledger is good, but damn I was expecting something more. I think that Jake\'s got the harder roll, and when he pulls it off it is much more rewarding. Although my favorite moment in the film came from Anne Hathaway. When Jack (Jake Gyllenhaal) finally tells his father in law off during Thanksgiving, you see her crack a very brief and subtle smile, she\'s loving it, and everyone in the theater knew it.\r\n\r\nMichelle Williams\' Alma seems downright tragic here, and she seems poised to burst into tears at any moment. It\'s a sadness I haven\'t really seen from her, and makes us sympathetic to her, even though Ennis is the main character here. He is a man of few words, but you get the feeling that he chooses his words wisely, and doesn\'t just open his mouth, as other character invariably seem to.\r\n\r\nNow there are some things the film avoids. Most notably is a confrontation between Jack and Lureen, but you get the feeling that she knows what\'s been going on, just as you get the feeling that his parents know the truth. The only real confrontation comes from Alma, who confronts him years after their separation. It is a scene for dramatic effect, that I\'m not sure I particularly felt.\r\n\r\nLedger has most of the best moments to himself, and I\'d say the highlight of that comes from him visiting Jack\'s parent\'s house, and going in his old room, finding that old denim outfit still covered in his own blood from that fight they had the very first time on Brokeback. It is the one time where we really feel what Ennis feels, where his lack of articulation is appropriate. The film is full of good and inspired moments, but far from the best film of the year praise that it\'s been racking up.\r\n\r\n*spoiler*\r\nNow perhaps the story is a little predictable. Love has to be tragic, especially gay love in movies. America doesn\'t take to kindly to queers and naturally these two had to pay. I figured both would be killed as was foreshadowed. Perhaps and Easy Rider like execution, but we weren\'t given that route. Instead a classic case of Hollywood moralizing came into play. Surely Jake\'s cowboy had to die, he was the promiscous one, and he was the agressor during that first night together. He started it, he was the \"wicked\" one so of course he has to pay with his life. It\'s all trivial nonsense and I think the film could have prospered without going that route, I also felt perhaps an AIDS reference would pop up, because his death does coincide nicely with the epidemic.\r\n\r\nGrade B+','8299bfe50c8f322fb43e3a244d69c129',0,'','LhWFrR8m',1,0,'',0,0,0),(11800,2134,3,1,0,'69.120.114.47',1136055300,1,0,1,1,1,1,'Unregistered(d)','Re: Brokeback Mountain (2005)','\r\nQuote:Now perhaps the story is a little predictable. Love has to be tragic, especially gay love in movies.\r\n\r\nActually, think about all the great film love stories ... you\'ll discover they\'re about loss.\r\n\r\nAnd just off the top of my head, there\'s a gay couple in a current theatrical release: THE FAMILY STONE, which is anything but tragic.','df8e4100283e4a69ecc7f53df85a5061',0,'','sDfCuZzk',1,0,'',0,0,0),(11801,2134,3,1,0,'69.120.114.47',1136071140,1,0,1,1,1,1,'wpqx','Re: Brokeback Mountain (2005)','Drama seems to be interchangable with tragedy when it comes to romance. You can usually avoid weepy moments in a comedy, which I assume the Family Stone is.','60a136bddc9ac3d50550d239e2f2ce43',0,'','PMbo2z5t',1,0,'',0,0,0),(11802,2134,3,1,0,'69.120.114.47',1136314320,1,0,1,1,1,1,'A','Re: Brokeback Mountain (2005)','I think our western civilization has been largely affected by the ancient greek concept of Drama/Tragedy. \r\nBut maybe our society`s just so @#%$ up, that happy endings are sparse when it comes to serious issues.','7a748a00c3a8993e38f6c6a1cb785d44',0,'','2acBwegt',1,0,'',0,0,0),(11803,2134,3,1,0,'69.120.114.47',1136446020,1,0,1,1,1,1,'hengcs','Re: Brokeback Mountain (2005)','Quote wpqx, \"Now perhaps the story is a little predictable.\"\r\n\r\nha ha ha ... since the movie is adapted from a short story, I think neither the director nor the film should be discredited. They always have a tough job ... if they change too much or add too much, fans of the short story will be dissatisified ... if they do not change or add more, a short story is usually more focus and concise than a novel of many pages/volumes ... despite all these, I think the director and cast has done an excellent job in making a simple story compelling ...\r\n\r\nHmmm ... I have quite a few more things to reply (to those in filmwurld and foreignfilms, but like many other people here, I have too much backlogs and other commitments, on top of administrating the forum ... BUT BUT BUT, I will try my best ... ha ha ha','acd39dfdc1f1ff7e677b722b9a68032f',0,'','98ZldFLk',1,0,'',0,0,0),(11804,2134,3,1,0,'69.120.114.47',1136614200,1,0,1,1,1,1,'trevor826','Re: Brokeback Mountain (2005)','Brokeback Mountain (2005)\r\n\r\nDirected by Ang Lee\r\n\r\nStarring Heath Ledger, Jake Gyllenhaal, Michelle Williams, Anne Hathaway\r\n\r\nA tragic love story about two people who can only steal precious moments with each other while leading ordinary lives, married with children. The major difference in this tale of illicit love is that the two people are both men.\r\n\r\nThe first thing that hit me on seeing the two principals was that it was obvious who would start the relationship, Jack (Jake Gyllenhaal) is a slut, his nonchalant slouch speaking volumes. Sure enough on a night of temperamental weather, he instigates the relationship with Ennis (Heath Ledger), a relationship that will dominate the rest of their lives.\r\n\r\nBoth men sign on to take care of a flock of sheep in some of the most photogenic landscapes Ive seen in an American film. Taking it in turns to play husband and wife, one caring after the sheep, the other ensuring there are enough provisions, cooking the food etc. Slowly but surely they are drawn together despite Enniss statement of I aint no queer. At the end of the season they both head their separate ways, Jack returning home to help his father, Ennis to join his betrothed.\r\n\r\nEnnis marries and has children, seemingly happy with his lot in life until four years later when he receives a postcard from Jack, they meet and straight away the love they had resurfaces and they head off on a supposed fishing trip together. \r\n\r\nFrom then on these trips take priority over everything else, wives, children, work until tragedy strikes, leaving one of them pretty much alone in the world having virtually lost everyone he cared about. \r\n\r\nHistory tells us that a great many gay men and women hid their sexuality and led what we consider normal lives while often having relationships with the same sex outside of their marriages. Being gay has until recently had a stigma attached to it, indeed there are still professions that find it intolerable, where being openly gay could lead to serious physical abuse and/or ruination.\r\n\r\nThe sex scenes within the film are negligible, most passion shown through heavy kissing and hugging, the acting is excellent and its nice to see Anne Hathaway doing something different from the normal disposable fluffy roles shes known for.\r\n\r\nWhat did I like, the scenery at Brokeback Mountain, absolutely stunning. The acting, convincing all round. The story, had more than a ring of truth to it.\r\n\r\nWhat didnt I like, the music, sorry but I cant abide Country and Western music. Anne Hathaways blonde wig, right for the film period wise but butt ugly, also Jake Gyllenhaals moustache, all I could think of was The Village People when I saw it.\r\n\r\nWould I recommend it? Hell Yeah, Im sure some gay people might not feel it goes far enough sexually but it should attract a good mainstream audience which an overtly sexual film wouldn\'t. \r\n\r\nCheers Trev.\r\n\r\nBBFC rated 15.','1c26a86c35abde4deb3bbd14b6c336d5',0,'','AxSa9FME',1,0,'',0,0,0),(11805,2134,3,1,0,'69.120.114.47',1136614860,1,0,1,1,1,1,'wpqx','Re: Brokeback Mountain (2005)','I think the moustache worked. And that was the hip thing for questionably gay guys, having a moustache in the late seventies/early 80\'s. Besides, could you expect them to have the same look for 20 years, plus look at the evolution of the sideburns.\r\n\r\nAnne Hathaway arguably has the prettiest eyes in movies, but yes that wig was hideous. For a much more \"natural\" looking Hathaway, I\'d recommend Havoc, certainly a much more sexually charged role. As for the instigator of the relationship here, I\'m not surprised either. From the outset Jack was the wild talkative one, so not surprising on that end. Hearing so much about Heath Ledger\'s performance, I\'m actually a little sorry for Jake Gyllenhaal who\'s probably never been better, and may never be better.','7924a3ab46ddb5954815d596fa0618da',0,'','KMSsXd6p',1,0,'',0,0,0),(11806,2134,3,1,0,'69.120.114.47',1136645160,1,0,1,1,1,1,'trevor826','Re: Brokeback Mountain (2005)','I think the moustache worked. And that was the hip thing for questionably gay guys, having a moustache in the late seventies/early 80\'s\r\n\r\nS#%T! I had a moustache in the late seventies/early 80\'s, when my kids see photos from that period, they call it my \"porno tache\" personally I think they\'re jealous that I could grow a good moustache at 17/18 years old.\r\n\r\nCheers Trev.','3d23b03521c220c4a434cc6ca5a02054',0,'','oXsBHr0c',1,0,'',0,0,0),(11807,2134,3,1,0,'69.120.114.47',1136663160,1,0,1,1,1,1,'Unregistered(d)','Re: Brokeback Mountain (2005)','Quote:Both men sign on to take care of a flock of sheep in some of the most photogenic landscapes Ive seen in an American film.\r\n\r\nThe film was shot in Alberta, Canada, near the foot hills of the Rocky Mountains.','a8d2060fe42405738a5cee0b0c3b9420',0,'','XYCHneFb',1,0,'',0,0,0),(11808,2134,3,1,0,'69.120.114.47',1137489960,1,0,1,1,1,1,'hengcs','Re: Brokeback Mountain (2005)','\r\ncongrats on the Golden Globe win!\r\n\r\nBest Motion Picture - Drama','720e22457f27aa6be35125f14a80cd2e',0,'','ChELBnMH',1,0,'',0,0,0),(11809,2134,3,1,0,'69.120.114.47',1138078500,1,0,1,1,1,1,'peppajaa','Re: Brokeback Mountain (2005)','I read the short story a couple of months ago, and couldn\'t wait for the film. It was amazing. The entire cast was superb, especially Ledger. His agonizing over his dilemma was heartbreaking. There wasn\'t a lot that wasn\'t hearbreaking in this beautiful film about life and love. Wonderful work by all under the direction of Ang Lee.','f0100a2b02da234073e54d54bebac1f4',0,'','hY4z5oGx',1,0,'',0,0,0),(11810,2134,3,1,0,'69.120.114.47',1152833640,1,0,1,1,1,1,'justindeimen','Re: Brokeback Mountain (2005)','I can\'t believe I love films as much as I do and I\'ve only JUST seen this fine fine work of Ang Lee\'s.\r\n\r\nGiven I was away during its heyday, I can\'t blame myself totally but still...shameful from me.\r\n\r\nHere\'s another review from me. Again touching on its messages as well as the film itself.','11f27783261e5168bc51d9e324385c70',0,'','LqjU90fT',1,0,'',0,0,0),(11811,2134,3,1,0,'69.120.114.47',1152833760,1,0,1,1,1,1,'justindeimen','Re: Brokeback Mountain (2005)','Review:\r\n\r\nIts easy to be superficial about a movie such as Brokeback Mountain, a film adapted by Larry McMurtry and Diana Ossana from Annie Proulxs 1997 short story. Its content draws mixed reactions from every generation and social strata, all carrying weighty and complex opinions. Branding this film as just another gay-themed movie that Hollywood churned out would be downright ignorant. Its final act forces us to consider that the backdrop of homophobia being unavoidable is as potent a notion as the films statement of unconditional love being unrealisable.\r\n\r\nAlthough far from being a trailblazer in its controversial content, this is one of the most important love stories told for the past 3 decades, and refreshingly, it is not left to European arthouse cinema this time. This taboo topic was earlier breached in 1969s acclaimed Midnight Cowboy with its original rating of X and 1992s Oscar nominated The Crying Game that sparked a furore among censors and critics for its then shocking twist. \r\n\r\nFast forward to this years celebrated alternative cinema offerings such as Transamerica (winning Felicity Huff an Oscar nod), Breakfast on Pluto (Cillian Murphy, from Batman Begins was exceptional as a out-of-touch transvestite) and the underrated comedic film-noir, Kiss Kiss, Bang Bang. All will be screened in Singapore in the coming weeks, hot on the heels of the Oscars. \r\n\r\nThis movie defines the years cultural zeitgeist, a year riddled with polemising gay rights issues and the ensuing fallout of not being taken seriously enough. The majority of moviegoers deal with it by cracking jokes and nervous laughter while discussing the films merits, evident by Americas late-night comics using it as fodder in their tired comedy routines. It has galvanised the gay community so strongly that a movie critic, Gene Shalit was condemned by gay rights activists for referring to 1 of the main characters as a sexual predator during his review. Has any review of any other movies drawn such a fierce response for its assessment of a character?\r\n\r\nCelluloid romances and rugged Western terrains complete with cowboys have never appealed to me, even as 2 separate genres. Although appreciative of both genres successes and appeal, Ive always seen them as a byproduct of heightened cinematic sentimentality and gasconading bravado of its masculine characters. With Brokeback Mountains immense buzz and hyped up performances of its leads coupled with 8 Oscar nominations, I was inclined to think, before watching the film that its publicity machine was merely working overtime. I was wrong.\r\n\r\nDuring the summer of 1963, 2 men discover their futures in Brokeback Mountain, Wyoming. Its where they met and its where they found themselves. At the tender age of 19, Ennis Del Mar (Heath Ledger) and Jack Twist (Jake Gyllenhaal) are paired up by Joe Aguirre (Randy Quaid) to herd his sheep through Brokeback Mountain to market. It slowly starts as a friendship established on a mutual understanding of making their way through the hardships of their world, but somewhere along the way things became complicated. A cold rainy day forces the 2 cowboys to shack up in a single tent, which leads to the first unflinching expression of their attraction. As both cowpokes leave the mountain early, they ambivalently acknowledge their burgeoning affection for each other.\r\n\r\nThese first 30 minutes gave us the incredibly subtle courtship rituals between the 2 sheepherders as their attraction starts to simmer with the furtive glances while their macho swagger turns into amorous endearment. Even while we knew what was about to transpire, it is all the more important for us to realise why both men needed each other. \r\n\r\nIt was definitely an affair to remember, complete with the obligatory first full-fledged, if brief, sex scene, accompanied by several moments of ardent, soulful stares and a final self-sacrificing moment in which Jack drives away from the love of his life. Those well-wrought scenes built the foundation of the remaining film by arresting our attention to the untouchable desire Ennis and Jack feel during the long droughts in their romance.\r\n\r\nThe cowboy that initially reveals his advances first did not necessarily make it as clear-cut as we would have liked. It is often said that men have sex first, and then they fall in love later. The film keeps us wondering even on the way home or as we brush our teeth, about which of the 2 men fell in love first and what might have been if they had consolidated their relationship before they complicated it.\r\n\r\nThe films second act continues with the men moving on with their lives during the next 4 years by marrying wives (Michelle Williams and Anne Hathaway) and siring children. A fateful postcard from Jack sets off an illicit affair between them for the next 20 years under guises of fishing and business trips while their marriages and relationships with women falter and fail. Their preferred hideaway remains Brokeback Mountain.\r\n\r\nThe titular location is stupendously photographed, and its majestic panorama fits in well with director Ang Lees delicate tact in creating a gentle coupling of lonely spirits instead of a raunchy flaying of clothes and assembly of limbs. A singular guitar chord manages to invoke the sharp pang of hurt and empathy for the unrequited lovers each time another obstacle is thrown their way. Nothing is done just to simply elicit emotions as each action is presented as pure and unbridled. The interactions between the 2 leads are always sensitive, and never unnatural or overly sappy. \r\n\r\nCompassionate and provocative over the bleak landscape of Wyoming (except that its really Canada) and the deafening sound of silence, Ennis and Jack treasure their solitude as much as they dread hiding themselves from the world. The idea of 2 lost souls connecting, exploring each others truths is common, yet its subtext is usually only explored on a physical level. However, with Lees interpretation of the 2 mens initial ambivalence towards their feelings and resulting wrong turns while traversing through their sham lives is clearly evident through his 2 wholly convincing male leads.\r\n\r\nEnnis is a closed-off, stoic rancher whos torn between the love of his life and his idea of continuing traditional romances with different woman to avoid acknowledging his homosexuality. Ledger is note perfect as he delivers a thoughtful and true performance in each scene. He hermetically seals himself in his characters turmoil by giving an incredibly nuanced portrayal of a torn human being. It stays remarkably restrained and through his implicit reactions, shows the true introvert Ennis is, even as the closet gets too small for him to hide in.\r\n\r\nWith a runtime of just over 2 hours, the movie will start to nag at and bore through those that didnt start watching it with an open mind. Its patient and deliberate pacing involves us at every juncture, but its apex lies in its rapturous opening scenes and its scenes set in Brokeback with Ennis and Jack. Nothing else in the movie manages to approach its untainted exploration of each cowboys emotional states when they are together. Perhaps thats the films sole limitation when it fails to transcend the inescapability of both mens magnetising screen presence or maybe its the films strongest aspect as were drawn to their devotion to each other while constantly peppering us with the realisation of a possible unhappy ending.\r\n\r\nIts a story about the cowboys future, not their past as we hardly get a glimpse of their lives before that fateful day at Joes except for references of childhood experiences. We follow them through their tumultuous marriages and the self-destructive decisions they make. Their romance becomes a quicksand that they struggle in as they consider their homosexual relationship for the rest of their lives. It pulls no punches, literally, as their onscreen romance plays out as real and ugly as the emotions they feel.\r\n\r\nThe women in their lives play an auxiliary part, plastering over the cracks in the mens agonised souls. Their love for the men may have been transient but not the impact they had in their husbands lives. Williams gives her all in her role as the long-suffering wife of Ennis. In a tableaux set in a kitchen, she fires off her frustrations in an intense scene that all but seals her Oscar nomination and puts her as the front-runner at this years awards. \r\n\r\nBoth Ennis and Jack are 2 of the most memorable characters in cinema this year. While its lauded as one of the greatest love stories ever told, its distinctive gay themed romance is made even more laudable when it stretches beyond our intrinsic societal boundaries and tremblingly touches our hearts with its unifying resonance. \r\n\r\nRating: 4 out of 5 stars\r\n\r\nReview By Justin Deimen\r\n\r\n--------------------------------\r\n\r\nGiven how long it took for me to finally watch it, I don\'t think anyone\'s going to pay as much attention to the review. But hey, just wanted to write about it.','350dde53b7eabeec8efdd474bb7dc0dc',0,'','mRwGJXY6',1,0,'',0,0,0),(11812,2134,3,1,0,'69.120.114.47',1152867840,1,0,1,1,1,1,'hengcs','Re: Brokeback Mountain (2005)','well,\r\ni read the review.','faf8042490ec80528e54a7d00f715049',0,'','mt7XgFUd',1,0,'',0,0,0),(11813,2134,3,1,0,'69.120.114.47',1153156320,1,0,1,1,1,1,'trevor826','Re: Brokeback Mountain (2005)','Brokeback Mountain is a film that straight people can watch, appreciate and enjoy, despite cries from some of the gay community this film isn\'t some great revelation and straight people can empathise, indeed sympathise with the characters. \r\n\r\nFor me though, what\'s funniest regarding these comments, especially as regards being able feel for the characters (how can we when they are gay and we\'re not!) is the fact that the original story was written by ................................... a woman!\r\n\r\nCheers Trev','835bc2801d5e7c19dadb9031f37675d6',0,'','vZuqAEw7',1,0,'',0,0,0),(11814,2134,3,1,0,'69.120.114.47',1153159140,1,0,1,1,1,1,'wpqx','Re: Brokeback Mountain (2005)','Still an awful lot of homophobia here in the US, and I know countless people who still refuse to see the movie. I hope however in a few years the hype will die down and people can appreciate the film on its own terms, much like My Own Private Idaho today.','df040f648fb06da49997d75bb26cce22',0,'','Ah1iwMKb',1,0,'',0,0,0),(11815,2134,3,1,0,'69.120.114.47',1153160100,1,0,1,1,1,1,'justindeimen','Re: Brokeback Mountain (2005)','Yep I understand that. I still keep intouch with my buddies back in the US through IRC mainly. I still get teased for being the only one of the bunch who has actually sat through the movie, much less liked it.\r\n\r\nIt\'s such a shame considering one of them calls himself a movie fan, and he does watch plenty. He refuses to watch or even consider this a good film. I feel he says that about every gay themed movie though, not just the most famous one.\r\n\r\nAs for the teasing, I wonder what\'d they would say if I said I watched and thoroughly enjoyed Priscilla: Queen of the Desert.','5bf13786a12af11f21ed1ad105a93c3a',0,'','JzBaYvZW',1,0,'',0,0,0),(11816,2134,3,1,0,'69.120.114.47',1153206840,1,0,1,1,1,1,'hengcs','Re: Brokeback Mountain (2005)','forgive me for digressing ...\r\n\r\nhey, so are you an american currently working in singapore?\r\nwhen were you here?\r\nsingapore features lots of films, yeah ...\r\n\r\ncare to say sth abt urself?\r\n\r\nPS: \r\noh, how abt participating in our \"fun\" quiz too? \r\nno penalty ... no BREAKing your BACK thinking abt them ...\r\nlots of \"surprises\" and \"humor\" (at times) ...','252c124d737fafe285bcbeea1c6855df',0,'','dF5f1PtG',1,0,'',0,0,0),(11817,2134,3,1,0,'69.120.114.47',1153223160,1,0,1,1,1,1,'justindeimen','Re: Brokeback Mountain (2005)','No I\'m a Singaporean in Singapore Just was overseas awhile when I was younger.','e72a94f39d9934e3d4621a6f3131166d',0,'','iEaLoTf8',1,0,'',0,0,0),(11818,2134,3,1,0,'69.120.114.47',1153223220,1,0,1,1,1,1,'justindeimen','Re: Brokeback Mountain (2005)','Oh I\'ll also take a look at the Quiz','9c97a75ef662254e5a08e572831d787c',0,'','avhgAVp3',1,0,'',0,0,0),(11819,2135,3,1,0,'69.120.114.47',1153157940,1,0,1,1,1,1,'justindeimen','The Lake House (2006)','Here\'s a review I did.\r\n\r\n------------\r\n\r\nSynopsis :\r\n\r\nA lonely doctor begins exchanging love letters with a frustrated architect through a mysterious letterbox, later discovering they are separated in time by two years.\r\n\r\nMovie Review:\r\n\r\nTime-travels an unforgiving bitch to screenplay writers everywhere. Ever since 2004s indie hit, Primer, Ive stopped trying to care about the various intricacies and innate contradictions of its nature. Trying being the operative word. And as I had expected, theres plenty of gaps in this films script that are the size of manholes. But never mind the lack of a watertight script, this film does not pimp out the time-travel aspect of its premise as its only draw. Its the first collaboration of the extremely likable Sandra Bullock and the extremely dour Keanu Reeves since 1994s smash hit, Speed.\r\n\r\nUnfortunately if you thought they had no chemistry 12 years ago, then youre not likely to be surprised when they are paired together in a much tamer affair like The Lake House. For that reason alone, I find it very hard to buy that they believed they were soul mates based on their largely superficial correspondences in the film. With one eye on keeping intact the bursting seams of the temporal dissonance and another eye on the flimsy relationship thats crafted by its 2 leads, the story sacrificed the wrong chicken by underplaying the relationship the protagonists should have shared. What made Siworae (of which Lake Houses premise was based) such a great and unique romance genre experience was that its 2 leads were transfixed by each other and nothing else.......\r\n\r\nContinued at\r\n\r\nwww.moviexclusive.com/rev...ehouse.htm\r\n\r\n---------------\r\n\r\nMediocre by all means. Still a different kind of love story, which should stand for something. Prefer the Korean version.','db7568d1eb55b88789e03cd5500b5b8c',0,'','wEd9mol8',1,0,'',0,0,0),(11820,2136,3,1,0,'69.120.114.47',1151915640,1,0,1,1,1,1,'hengcs','Superman Returns (2006)','I have watched it last week, but I have no time to write the review. I thought someone would start a thread and comment on it, so that I could be lazy and tag on a few comments ... ha ha ha ...\r\n\r\nok ... any volunteer? ... or I will try to write something ... ha ha','9e01aa03fdfd7a681f0b4009de818e5c',0,'','NPZC2J8g',1,0,'',0,0,0),(11821,2136,3,1,0,'69.120.114.47',1151933460,1,0,1,1,1,1,'trevor826','Re: Superman Returns (2006)','We\'re still waiting for it in the UK, so what are your overall thoughts hengcs, positive or negative?\r\n\r\nCheers Trev.','c0a37b13c3fb6760502b67cd7bbde71e',0,'','2aboZ9y1',1,0,'',0,0,0),(11822,2136,3,1,0,'69.120.114.47',1151933640,1,0,1,1,1,1,'hengcs','Re: Superman Returns (2006)','oh no ...\r\nwith the speed of Superman, you mean he hasn\'t flown there?\r\n\r\nit\'s a bird, it\'s a plane ... oh no ... it\'s superman ... \r\nha ha ha\r\n\r\n\r\n\r\nDirector: Bryan Singer\r\nCast: Brandon Routh, Kate Bosworth, Kevin Spacey, Parker Posey\r\n\r\nThe official website\r\nsee\r\nhttp://supermanreturns.warnerbros.com/\r\n\r\nMy thoughts ...\r\n-- the special effects are great ... wow ... you can really feel the \"speed\" of superman ... however, the \"pacing of the plot\" is not as \"speedy\" or \"thrilling\" ... if you ask me what could be better, it has to be the \"rivalry/tension\" (or whatever you call it) between superman and the villains ... from the way i see it, there is hardly much \"tension\" between the two ... it is so mildly depicted that i do not feel the slightest worry for superman at all ... (on the other hand, that makes the film rather PG for kids ... hooray) ...\r\n\r\n-- with regards to the \"emotional\" scenes, there are some that will touch audience ... but i shan\'t give those moments away ... to some extent, superman is depicted as rather \"human\" this time ... hee hee\r\n\r\n-- not forgetting, there are numerous humorous scenes ...\r\n(i) ... for me, offhand, it has to be the \"contingency\" newspaper headlines ... ha ha ha ... * no spoiler * ... how about you?!\r\n(ii) ... also, many of the funny lines belong to Parker Posey ... but i thought she could afford to be more exaggerated in her acting/expression ...\r\n\r\n-- finally, i have to credit the director for making this film feel very much like the old film ...\r\n(i) ... at least in its casting ... Brandon Routh really looks like Christopher Reeves ... as to whether he can act ... hey, he was not given many lines ...\r\n(ii) ... in the cinematography and art direction\r\n(iii) ... and also, its wonderful soundtrack ... wow ...\r\n\r\n\r\nConclusion:\r\nI thought it is fun to watch for a summer blockbuster ... \r\n\r\nalthough it did not blow me away as much as some critics would like to ... i still recommend it ... afterall, I have to admit the effects are good ... and I grow up watching the previous Superman ...\r\n\r\nPS: It was also nice to see the film being dedicated to Christopher Reeves and Dana Reeves','869aea7804310e4540ed6ee94cf16d2c',0,'','jPBm6fX2',1,0,'',0,0,0),(11823,2136,3,1,0,'69.120.114.47',1151990340,1,0,1,1,1,1,'arsaib4','Re: Superman Returns (2006)','it\'s a bird, it\'s a plane ... oh no ... it\'s superman ... or my Super ex-girlfriend.','822b8d21369e0b2be4ef8dcbfa8507dc',0,'','38eaJlVy',1,0,'',0,0,0),(11824,2136,3,1,0,'69.120.114.47',1152960060,1,0,1,1,1,1,'trevor826','Re: Superman Returns (2006)','As with PotC: Dead Man\'s Chest, I\'ll give this a miss, 2 1/2 hours is far too long for a blockbuster, especially when the films are targetted at a young audience.\r\n\r\nThe verdict from my wife and eldest son, good first half, then ZZzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzzz.\r\n\r\nCheers Trev.','746c6182334480402ee843fdbd0fec8e',0,'','mVQge7Kr',1,0,'',0,0,0),(11825,2137,3,1,0,'69.120.114.47',1143544020,1,0,1,1,1,1,'arsaib4','Jason Reitman\'s Thank You for Smoking (U.S. / 2005)','[Note: Thank You for Smoking was originally seen last year at the Toronto film festival, and this review was posted on 09/25/05 in the appropriate festival thread.]\r\n___________________\r\n*A 2006 U.S. release* \r\n\r\nAs a genuine crowd-pleaser, Thank You for Smoking doesnt let up. Its a blissful and breezy satire about the double-talk and political correctness associated with \"Big Tobacco\" and its companions, including the alcohol and firearm industries, among others. And while the film is neither as funny nor witty as it claims to be, it works diligently to avoid becoming clichd and sentimental, the usual traps for films like this. \r\n\r\nThank You for Smoking features Aaron Eckhart as Nick Naylor, a suave, unscrupulous manipulator appropriately working as a spokesman for the Academy of Tobacco Studies (funded by the tobacco giants, of course). He has his enemies, namely a senator from Vermont (William H. Macy) whos tired of his wily ways. However, Nick only gets into trouble when he inadvertently discloses some trade secrets to a journalist (Katie Holmes) willing to employ all means necessary in order to get a story.\r\n\r\nBased on the 1994 novel by Christopher Buckley, Thank You for Smoking is the feature film debut of Jason Reitman (son of Ivan, Ghost Busters [1984], Dave [1993]). And at this point he certainly seems like a chip off the old block. Comedy is all about timing, not just from the actors, but also from the director when it comes to pacing and editing. Reitmans talents in this film are obvious in sequences involving Naylor and his counterparts, the spokespersons for alcohol and firearms (Maria Bello and David Koechner, respectively), at lunch while bantering about who has done the most damage. (The trio refer to themselves as members of a \"Mod Squad,\" as in \"Merchants of Death.\") But the film also grounds itself by showcasing the relationship Naylor has with his young son (Cameron Bright, from Birth [2004]), although, thankfully, not as a catalyst for change. Eckhart, who hasnt played too many \"leading-man\" roles, does well here by exhibiting the same brand of cool reserve he brought to Neil Labutes In the Company of Men (1997). One perhaps wishes that the film took even more chances with the material at hand, but its hard to complain when something is this entertaining.\r\n\r\nGrade: B\r\n_______________________\r\n\r\n*THANK YOU FOR SMOKING had its world premiere last year in Toronto. Then the film was part of the Sundance lineup earlier this year. Fox Searchlight officially released it in the U.S. on March 17th.','5bc40ec03fac30159a8805e58aa387f1',0,'','ZJut6aqV',1,0,'',0,0,0),(11826,2137,3,1,0,'69.120.114.47',1145554560,1,0,1,1,1,1,'wpqx','Re: Jason Reitman\'s Thank You for Smoking (U.S. / 2005)','Just a few observations I feel are necessary to make. I noticed in the film that no one smokes during the entire picture, which may be a let down to some who feel with a title like that there has to be some puffing, especially when the film comments on the lack of smoking in modern Hollywood. The film was funny, only about two moments though were laugh out loud funny, but you can always get an audible chuckle out of me when you talk about shooting hippies. The film avoids numerous cliches, and I thought this would become some preachy piece of crap either about tolerance, or about Nick learning that cigarettes are bad, but thank god this isn\'t one of those. This film succeeds many times over from where Saved (2004) failed. That film played it far too safe, this one is willing to push things a little farther.\r\n\r\non a side note, I found that video directors Jonathan Dayton and Valerie Ferris (The Smashing Pumpkins \"Tonight Tonight\") are making their feature film directed debut, and Richard Linklater is making another animated film, this one based on a Philip K. Dick novel. I don\'t usually get excited about trailers, but these were new to me. Linklater has generally fluctuated between brilliant independent work and play it safe entertainment, so considering Bad News Bears was far from brilliant independent work, I\'m excited about this new film.','988ebef3f7061c4ea11654c672f329a2',0,'','5HA1DMhv',1,0,'',0,0,0),(11827,2137,3,1,0,'69.120.114.47',1145555220,1,0,1,1,1,1,'arsaib4','Re: Jason Reitman\'s Thank You for Smoking (U.S. / 2005)','Glad you watched it. Yeah, I was also happy to see that it didn\'t become preachy and/or sentimental. And it did take more chances than Saved!.\r\n\r\nLinklater\'s new animated film is called A Scanner Darkly; it will play in Un Certain Regard at Cannes. His other film, Fast Food Nation, is in-competition. I also hope that they\'re better than Bears.','1a2009c6bb96b5c201134b3dc8d8b784',0,'','9sjgXavE',1,0,'',0,0,0),(11828,2137,3,1,0,'69.120.114.47',1152764940,1,0,1,1,1,1,'hengcs','Re: Jason Reitman\'s Thank You for Smoking (U.S. / 2005)','watched it.\r\nliked it.\r\nsome parts were great ...\r\n\r\nFORGIVE me (nothing personal), but like Dakota Fanning ...\r\nI humbly think that Cameron Bright (the kid) is \"over used\" in Hollywood movies ... \r\nsometimes the casting works for him (e.g., Birth), \r\nsometimes it simply does not (e.g., Thank You For Smoking) ...\r\n\r\nThank You For Reading ...','2ce5c2c5fbddabe02364e0bba2ab7dae',0,'','zX1ECPBL',1,0,'',0,0,0),(11829,2137,3,1,0,'69.120.114.47',1152765180,1,0,1,1,1,1,'wpqx','Re: Jason Reitman\'s Thank You for Smoking (U.S. / 2005)','Hollywood\'s casting pallete is rather small. Their overreliance on certain child actors makes for generally short careers. They have a similar over-reliance on minority actors, hence the reason Sidney Potier was the one and only black lead actor for nearly two decades.','a7e7b03412c7454b04891338aba9755a',0,'','wlEBHzXQ',1,0,'',0,0,0),(11830,2137,3,1,0,'69.120.114.47',1152776280,1,0,1,1,1,1,'arsaib4','Re: Jason Reitman\'s Thank You for Smoking (U.S. / 2005)','Sidney Poitier was also quite good though. \r\n\r\nI\'m also not a fan of Dakota Fanning (it may sound mean but I wanted her dead in War of the Worlds). She\'s certainly been over-exposed. Bright, on the other hand, has only done a few films since Birth: 4 to be exact, and I\'m not sure how prominent a role he has in a couple of \'em. So, I don\'t think that he is being overused at this point. Maybe you just didn\'t like him in this film, hengcs.','e7c43a4a07b84e53484c241f5d5b5cd3',0,'','1ucmDK5h',1,0,'',0,0,0),(11831,2137,3,1,0,'69.120.114.47',1152791760,1,0,1,1,1,1,'wpqx','Re: Jason Reitman\'s Thank You for Smoking (U.S. / 2005)','Yes but 4 films in a year is Morgan Freemen/Jude Law type of numbers.','b93b19dfd437ab2413f6f1137f490a5a',0,'','oT54xRCg',1,0,'',0,0,0),(11832,2137,3,1,0,'69.120.114.47',1152793440,1,0,1,1,1,1,'hengcs','Re: Jason Reitman\'s Thank You for Smoking (U.S. / 2005)','yup ... i still recall the Oscar \"joke\" abt Jude Law ...','a193dadc4bc4da61a8b5a75f4e1460e0',0,'','9VyZBdkC',1,0,'',0,0,0),(11833,2138,3,1,0,'69.120.114.47',1152711000,1,0,1,1,1,1,'hengcs','Havoc (2005)','\r\n\r\nDirector: Barbara Kopple\r\nCast: Anne Hathaway, Bijou Phillips, Shiri Appleby, Freddy Rodrguez, Joseph Gordon-Levitt, Channing Tatum\r\n\r\nConclusion\r\nWell, I watched this some time ago too. This film caught my attention because of its great ensemble of cast ... but did it deliver?! ... not as much as I would want it to ... \r\n\r\nforgive me, but the director just did not do enough ... she concentrated too much on Anne Hathaway and Freddy Rodrguez, and missed out on the rest ... \r\n\r\nbut more imptly, the characterization and plot was rather stereotypical ... and being a social commentary kind of film, i thought the ending was not punchy enough; instead, it settled for a rather \"noble\" kind of ending ... do you call that a predictable \"happy\" Hollywood ending?! ...\r\n\r\nhmmm ... i will write more if time permits ...','663fd2dcf715e18e6430bbaf9d6fe3ce',0,'','sEKaV36l',1,0,'',0,0,0),(11834,2138,3,1,0,'69.120.114.47',1152713820,1,0,1,1,1,1,'justindeimen','Re: Havoc (2005)','Review:\r\n\r\nOriginally a straight-to-DVD release for domestic audiences in the US and Europe, Havoc has just found its way to our theatres. On whether thats a good thing, is still up for debate. Especially when its single-minded publicity campaign is in every respect being fuelled by the notion of bored girls gone wild and ghetto. If that last sentence had you conjuring up images of drug use, gang violence and sex, thats exactly what this film delivers in spades.\r\n\r\nLike a page out of Larry Clarks playbook, the story revolves around bored white teenagers with copious amounts of free time and money. They find themselves getting acquainted with drugs, sex and hip-hop to keep the numbness of suburbia out of their lives. They have formed their own inconsequential gang, the P.L.C., and head up illegal activities with the confidence in daddys fat chequebook bailing them out when trouble knocks on their doors.......Continued at www.moviexclusive.com/rev.../havoc.htm\r\n\r\n------------------------------\r\n\r\nAside from my thoughts about the film on the above site, I did find this one of the better Straight-To-DVD films of the year. Good acting, decent plot and some provoking questions should be a good buy overall. \r\n\r\nAnne Hathaway jumped the shark I reckon by ditching her good girl image in Ella Enchanted and the Princess Diaries movies and dived straight into this and Brokeback Mountain, both dealing in strong and adult sexual relationships.','f7b21fd89a47a29906c287300aa448ab',0,'','R9kFqocg',1,0,'',0,0,0),(11835,2138,3,1,0,'69.120.114.47',1152727980,1,0,1,1,1,1,'wpqx','Re: Havoc (2005)','I looked forward to this film for so incredibly long, so naturally it was slightly disappointing. I was constantly reminded of how much better Larry Clark is with this type of material than Barbara Kopple (who\'s spent almost her entire career in documentaries). Anne Hathaway\'s performance was interesting, but the film was definitely flawed. However it does comment on white rich kids obsession with the ghetto lifestyle, but of course only as a tourist.','d14bc9df12f3cc040d6995c3a9f3dd9c',0,'','wrhHtyoK',1,0,'',0,0,0),(11836,2138,3,1,0,'69.120.114.47',1152732540,1,0,1,1,1,1,'justindeimen','Re: Havoc (2005)','Was it just me or did it have heavy vibes of Reefer Madness? \r\n\r\n\"Danger! Danger!\"\r\n\r\nDr. Carroll: ...Failing this, the next tragedy may be that of your daughter\'s... or your son\'s... or yours... or yours...\r\nDr. Carroll: or yours!','38e80e9ed451917dd82c47d10d53960e',0,'','JPe0X6So',1,0,'',0,0,0),(11837,2138,3,1,0,'69.120.114.47',1152739440,1,0,1,1,1,1,'wpqx','Re: Havoc (2005)','It wasn\'t that bad. Still looking for a film that will have a little more faith in Bijou Phillips. She\'s been damn good in everything I\'ve seen her in, but her roles have never been more than supporting.','2dea6b11b1835c6d572de246b5b9b0e0',0,'','xmXvi6b1',1,0,'',0,0,0),(11838,2139,3,1,0,'69.120.114.47',1122838080,1,0,1,1,1,1,'hengcs','Broken Flowers (2005)','\r\nDirector: Jim Jarmusch\r\nCast: Bill Murray, Jeffrey Wright, Sharon Stone, Frances Conroy, Jessica Lange, Tilda Swinton, Julie Delpy \r\n\r\nAt the Cannes Film Festival 2005, it garnered the Grand Prix \r\nsee\r\nwww.festival-cannes.fr/in...angue=6002\r\nsee also\r\nwww.festival-cannes.fr/fi...lm=4278008\r\n\r\nThe official website is here ...\r\nsee\r\nbrokenflowersmovie.com/\r\n\r\nI am WAITING for this film ... \r\nI think it will open Aug 5 ... but will it be at SF ...!?','94e01eb52790ff4f7597849ccc76f2fa',0,'','uAwGfzC5',1,0,'',0,0,0),(11839,2139,3,1,0,'69.120.114.47',1122854040,1,0,1,1,1,1,'arsaib4','Re: Broken Flowers (2005)','Thanks for the links, but I think it\'s preferable if a new film thread is started with some sort of a review. Perhaps a universal thread is required for this kind of info.','dcd5ab7a328ed1d168a2caaef0d39d9b',0,'','bT7KFsRY',1,0,'',0,0,0),(11840,2139,3,1,0,'69.120.114.47',1122854340,1,0,1,1,1,1,'hengcs','Re: Broken Flowers (2005)','oh ... i do have the intention to write a review ... that is why i started this thread ... \r\n\r\nand i will do so this weekend if it screens at SF this friday ...\r\nmeanwhile, i am encouraging people to watch if it screens near them ... so that we will be able to discuss ... hee hee','7a06c52ab714a1e3692504290df7233c',0,'','8kdgZPUC',1,0,'',0,0,0),(11841,2139,3,1,0,'69.120.114.47',1123178160,1,0,1,1,1,1,'kookook','Re: Broken Flowers (2005)','definitely il wtch this movie','2df574201cf4053552d900e64b919944',0,'','AELawoV9',1,0,'',0,0,0),(11842,2139,3,1,0,'69.120.114.47',1123316160,1,0,1,1,1,1,'hengcs','Re: Broken Flowers (2005)','I have watched ...\r\nGive me a few hours ... and the review will be here','62ad919d46266ac64dc5688dbe4a2742',0,'','ZYPktrDd',1,0,'',0,0,0),(11843,2139,3,1,0,'69.120.114.47',1123354860,1,0,1,1,1,1,'hengcs','Re: Broken Flowers (2005)','Broken Flowers (2005)\r\n\r\nDirector: Jim Jarmusch\r\nCast: Bill Murray, Jeffrey Wright, Sharon Stone, Frances Conroy, Jessica Lange, Tilda Swinton, Julie Delpy\r\n\r\nAt the Cannes Film Festival 2005, it garnered the Grand Prix \r\nsee\r\nwww.festival-cannes.fr/in...angue=6002\r\nsee also\r\nwww.festival-cannes.fr/fi...lm=4278008\r\n\r\nThe official website is here ...\r\nsee\r\nbrokenflowersmovie.com/\r\n\r\nWell, I guess many of you would know the gist of the film by now. It revolves around Don, a bachelor, who received a mysterious letter informing him that he had a son. He then went in search of the probable sender \r\n\r\nWhat is good \r\n-- Wow, definitely the soundtrack. I especially like the first song There is an end!\r\n\r\n-- I like the way the film ends but will everyone else? Hmmm maybe not \r\n* anyway, I am not going to spoil it for you *\r\nIronically, the film is about the present not the past (despite his trip to the past) but will the audience be inspired to live in the present?! hmmm maybe not \r\n-- In the film, the male protagonist would come across several young male (whom he thought could have been his son) those scenes are good and thought provoking \r\n\r\n-- The performance of the 4 supporting actresses. Despite their very little screen time, they manage to imprint their images in you interestingly, these women do seem realistic (i.e., you can identify with them as such characters do exist) but put together, all the past women ended up pretty weird and rather caricature I wonder if it is for the comical effect?! after all, it is supposed to be a comedy \r\n-- Ok, I agree that Bill Murray does carry his role with his minimalist approach but like many actors who might fall into the trap of being typecast (i.e., always given a very similar role and look he is so like his role in Lost In Translation) can we see him in a very different role?!\r\n\r\nWhat may be problematic \r\n-- Definitely the pacing, the film is rather slow and not too engaging (esp. with the minimalist approach) also, it does not become too sentimental or emotional hmmm, I really wonder if mainstream audience will connect with the film \r\n-- Instead of calling it a comedy, I would rather call it a bittersweet film DO NOT expect hearty laughs honestly, I do not hear the audience breaking into much laughter \r\n* wow on a weekday afternoon, I cant believe there is near to 100 people in the theater I guess it is the first screening in Bay Area, and only in 1 theater that probably explains it *\r\n-- Some things are too contrived \r\ne.g., the naming of Don for Don Juan, and he watched The Private Life of Don Juan\" on TV, and there were some lines about him being Don Juan, etc\r\ne.g., Lolita for Lolita\r\n\r\nConclusion:\r\nOk ok ok I know a lot of critics are going to give it rave reviews BUT forgive me, I guess I set my expectations much too high such that I feel that it is a good film BUT NOT as high as many critics oops it reminds me of my opinion about Lost In Translation again frankly, I think it is slow and not too humorous for mainstream audience','460dfda6a0c6f4168b7f7df69102b8e9',0,'','aM5SmQBN',1,0,'',0,0,0),(11844,2139,3,1,0,'69.120.114.47',1123954680,1,0,1,1,1,1,'wpqx','Re: Broken Flowers (2005)','This was already posted on Film Wurld, so if you read it there, just forget about it here.\r\n\r\nNow some of it may seem predictable, the fact that four women could be the mother, I knew that we wouldn\'t have a film if woman number one was the mother, or two, etc. So basically Jarmusch had the option of offering the mother as the fourth person, or none at all. I hate that the conventions of story telling force this to be the case, but these other characters make the film worthwhile. This isn\'t so much a \"can Don find his son\", as much as it\'s a \"look what happened to these people\" story.\r\n\r\nDon\'s relationship with his various exes seems to digress as the film goes on. The first one is extremely friendly, and has a daughter who takes after her mother quite noticably. Then you have the insanely boring married couple. This is a feat, to make boring funny. Many a laugh was heard as Don forked four carrots at once, such a simple touch, but effective. For once Murray\'s deadpan expression fit absolutely perfect, he was looking bored for a reason. Then there was the \"busy\" Dr. who couldn\'t give Don a dinner, a drink, or even a walk. And the last one ended with a punch in the face, so what seemed like a potentially fun trip, slowly spiralled downward.\r\n\r\nI had to laugh at the line about a \"stalker in a Taurus\", because I happen to drive a Taurus myself. Granted everyone else in the theater found it pretty damn funny too. The film\'s humor bears many similarities to Sideways. It is an adult film about relationships, and of course a road trip. It remains to be seen if critics are going to laud this film as much at the end of the year, but so far it\'s been getting rather positive reviews.\r\n\r\nNow for the question that\'s been bugging me all day, when did Jim Jarmusch become a director for senior citizens? I was the only person in a theater of about 80 people under the age of forty. And when I say old people were the audience, I mean old. There were senile old folks who couldn\'t find the screen (yes the big thing in front that the movie was playing on), having problems with hearing aids, wandering around aimlessly looking for a seat, walkers, canes, and all the rest. I began to wonder what brought this crowd out. Jarmusch was supposed to be a hip director, I expected a much younger crowd. I also never new Bill Murray to be a favorite of the grandparents, so I wondered what it was. My best guess could be that Roger Ebert (trusted critic to many Chicago citizens) gave it 4 stars. His word is as good as gold for many of these people, and that could have explained why they went to see this film. I had to laugh before the show at another old man wandering into the wrong theater several times looking for Bergman\'s new movie which he called \"Caravan\". I shouldn\'t laugh too hard though because I will probably be that old someday.\r\n\r\nAnyways I thought the film was fantastic, and I might have to watch Dead Man again, but as of now, this is my favorite Jarmusch film, exceeded any expecations I had for it. Good film to see for my 22nd birthday.','343dfd54eebd660cd308998f1c4622dd',0,'','uq4flihP',1,0,'',0,0,0),(11845,2139,3,1,0,'69.120.114.47',1123973700,1,0,1,1,1,1,'hengcs','Re: Broken Flowers (2005)','Hey,\r\nI have just realized that the kid in the car is Bill Murray\'s real life son doing a cameo ...','1ae236f26b6086cf297e570271a2bb20',0,'','gZA9kwrT',1,0,'',0,0,0),(11846,2139,3,1,0,'69.120.114.47',1150540620,1,0,1,1,1,1,'arsaib4','Re: Broken Flowers (2005)','[Originally posted on 08/25/05]\r\n\r\nIf Bill Murray was Finnish, then its quite possible that he wouldve been part of a few Aki Kaurismki films already. The Finnish giants trademark dead-pan low-brow style/humor, which is Murray\'s speciality, has had a huge influence on Jim Jarmusch, especially early on in his career. And now it seems like he has now gone back and stolen one of Kaurismki\'s protagonists for Broken Flowers, his latest meditation on rootlessness and belonging. Kent Jones once said that Bill Murray is not an \"actor,\" and since Jarmusch has never particularly liked actors, this is a perfect match between these two individuals. In the film, Murray plays Don Johnston, an aging Don Juan who, with much help from an Ethiopian neighbor (Jeffrey Wright), goes on a trip to locate the woman who has sent him a letter claiming that he has a son.\r\n\r\nThe sort of world Jarmusch usually creates in his films is never quite \"realistic,\" and its not meant to be so (a great example of this would be his 1999 feature, Ghost Dog: The Way of the Samurai, with a modern day Samurai patrolling Jersey City). So theres no need to be alarmed even if its quite unlikely that an Ethiopian with five kids would be living next door to someone like Murray with his posh pad. Nevertheless, Jarmusch, as he establishes with a tracking-shot early on, wants us to compare the differing environments of the two individuals. As for the \"Don Juan\" talk, well, its quite easy to decipher that from the film Murray is watching on his HD set, but people whove actually seen that film (Alexander Kordas The Private Life of Don Juan [1934]) will note that the old film also had an aging Casanova trying to reconnect with his old flames. (Frankly, I have an easier time buying Murray as a Don Juan than as someone who made money with computers, whatever the hell that means.)\r\n\r\nBroken Flowers has wit and charm to spare. Its also -- for the most part -- meticulously observed and exquisitely arranged, but Jarmusch, unlike Dead Man (1995) and the aforementioned Ghost Dog, never quite manages to study and explore the various clichd elements he establishes once our Don Juan hits the road. The \"Lolita\" segment is practically saved by Bill Murrays \"non-reaction\" reaction even though Jarmuschs act here seems more like a Payne-esque riff on mid-American aloofness to our literary and cinematic worlds. And the subsequent segment is over-acted and directed, so it ends up being quite rigid, right down to a block of rice staring Murray in the face. But Jarmusch and Murrays journey finishes up strong with the third segment featuring the funniest line the film. We also start noticing what kinds of problems these relationships might\'ve had.\r\n\r\nJarmusch\'s musical choices -- from The Greenhornes \"There is an End\" to Marvin Gaye\'s \"I Want You\" -- are on the mark, as usual. But here its the various Jazz tunes from Ethiopian Mulatu Astatke that help establish and keep a certain mood right till the end. Murray, whose segment with RZA and GZA of the Wu-Tang Clan was the sole interesting aspect of Jarmusch\'s previous effort Coffee and Cigarettes (2004), gives a minimalist \"non-performance\" performance which is the best of his career. He basically controls the film with his eyes and thats quite a task. And he even comes through in the scene in which he is required to act. That scene takes place near the end of his journey and it gives the film some weight that it lacked. One only wishes that Jarmusch would\'ve dropped his quizzically cool act for a few more sequences with heart, only because a film like this required it. He does finish the film strong, though, leaving quite a few possibilities for us to mull over. But unlike Stranger than Paradise (1984), which I still believe is his best film, or even Dead Man, and very much like its own protagonist, its likely that Broken Flowers will not mature with age.\r\n\r\n______________________\r\n\r\n*Available on DVD (Universal) in the U.S.','3cc9a2b41260c9da2d8fc2b4673a2e9e',0,'','ECHNXY2b',1,0,'',0,0,0),(11847,2139,3,1,0,'69.120.114.47',1151302800,1,0,1,1,1,1,'Johndav','Re: Broken Flowers (2005)','The Kaurismaki link is very useful- yeah, Murray would suit his films, which i\'d not thought of (perhaps i should have given the similarities, close ties with Jarmusch). But i found it almost mannered in its laid back style, a disappointment, certainly after the promising Sharron Stone section. Almost too dry and somehow insubstantial. He may be cool but I don\'t think Jarmusch is stretching himself.','e7ed139a5692823525d8727cb0b12cea',0,'','HZBXUjps',1,0,'',0,0,0),(11848,2139,3,1,0,'69.120.114.47',1151308500,1,0,1,1,1,1,'arsaib4','Re: Broken Flowers (2005)','I agree. I\'m still waiting for him to take the \"next step.\" But unlike many others, including a few in the critical establishment, I haven\'t given up on him yet.','8115c3d800b5a98e3f7a0fd16c0ca1e9',0,'','TwZFlV6X',1,0,'',0,0,0),(11849,2139,3,1,0,'69.120.114.47',1151308980,1,0,1,1,1,1,'wpqx','Re: Broken Flowers (2005)','Am I the only person who loved Broken Flowers and thought it was his best film yet? I do realize I need to see Dead Man again, but I loved Broken Flowers and thought it was just perfect, certainly a step up from his last couple of pictures.','b35993485fae176d4db3048455244fcb',0,'','eHtjhpYP',1,0,'',0,0,0),(11850,2139,3,1,0,'69.120.114.47',1151373540,1,0,1,1,1,1,'arsaib4','Re: Broken Flowers (2005)','I haven\'t seen Ghost Dog for a while, but I\'d agree with your final point. \r\n\r\nI feel the same way about Strangers; I don\'t think that it\'s appreciated enough.','1dadc65978d824e9e64ffa69ac601822',0,'','QYu4GpdS',1,0,'',0,0,0),(11851,2139,3,1,0,'69.120.114.47',1151385180,1,0,1,1,1,1,'wpqx','Re: Broken Flowers (2005)','I think its reputation has gone down a bit. Although www.allmovie.com lists it as his only 5 star film (Stranger that is). Not surprising that being your favorite, certainly falls into the minimalist category.','d52ae9b8351b81df467fbc683ce11285',0,'','L4qY8pGn',1,0,'',0,0,0),(11852,2139,3,1,0,'69.120.114.47',1151426280,1,0,1,1,1,1,'A','Re: Broken Flowers (2005)','It\'s surprising that I haven\'t comented on the film in this thread yet, given the fact that I saw it twice in the cinema. The second time I dragged my best friend with me, eho is also a Jarmusch admirer, and was slightly disappointed - Maybe I had given the film a bit too much praise. \r\nImo Dead Man and Stranger than Paradise are by far Jarmusch\'s best films, but that doesn\'t mean much imo, as these two are among the best films ever, from any decade or country. Broken Flowers never had a similar power, besides the haunting last 360 degree shot, which was a perfect ending for the too dry and self-conscious Murray. I think the sometimes \"plain\" delivery by Jarmusch was intentional, as it fitted the character of Murray very well. Deep, but already a bit shallow, as he has been obviously dying the last couple of years. The last scene is for me the moment he wakes up. I find the film more similar to Jarmusch\'s weaker efforts (Night on Earth, Mystery Train) in its episode style and (too) wry humor. Nevertheless one of the highlights of 2005 for me. \r\nDon\'t see a reason to \"give up\" on Jarmusch, really. It\'s not like any director can make one flawless masterpiece after the other!','e9cf570fbd2142fe9379a3e98b8ea64c',0,'','AR4vrxEZ',1,0,'',0,0,0),(11853,2139,3,1,0,'69.120.114.47',1151428920,1,0,1,1,1,1,'wpqx','Re: Broken Flowers (2005)','Kubrick did it, but then again that\'s why he\'s my favorite.\r\n\r\nI think the episodic style worked well here because they were directly related. Its structure reminded me more of Down by Law than any other Jarmusch film. And I wouldn\'t call Mystery Train a weaker Jarmusch effort, but that\'s primarily because of Joe Strummer. Jarmusch has a knack for extracting memorable performances from people you wouldn\'t even expect to find in a movie.','182cf56d77ee347c23df09509cdf282d',0,'','2wFZlYMH',1,0,'',0,0,0),(11854,2139,3,1,0,'69.120.114.47',1151550480,1,0,1,1,1,1,'A','Re: Broken Flowers (2005)','Well, I\'d disagree with that, as my favorite director has imo made only two flawless masterpieces. But to be honest, I haven\'t encountered a director yet who has made more.  \r\nGood idea with Down by Law. At first I didn\'t feel it, but when I thought more about it, I think you are right. \r\nMaybe my associations with Mystery Train and Night on Earth were because of the same cinematographer he used on Broken Flowers. While Down by Law, Dead Man and Stranger than Paradise are still 50% Robby Mller for me. (same as Paris, Texas or Mad Dog and Glory).\r\nIn Jarmusch\'s films you get a real feeling for the importance of the cinematographer... Something like watching a film by Claire Denis.','ba7a2f26501370098042a6dd49402e5d',0,'','zAsxjLhB',1,0,'',0,0,0),(11855,2139,3,1,0,'69.120.114.47',1152536220,1,0,1,1,1,1,'justindeimen','Re: Broken Flowers (2005)','Broken Flowers is celebrated indie auteur Jim Jarmuschs latest offering since last years collection of personal vignettes, Coffee and Cigarettes. As writer-director of his most commercial film to date, this offbeat dramedy promises to encompass everything weve come to expect from Jarmusch and his idiosyncratic views on growth, adult relationships and life.\r\n\r\nDon Johnston (Bill Murray) is a jaded and aging Lothario residing in a quiet suburban neighbourhood with his girlfriend (Julie Delpy) during his retirement. Unfortunately for him, he receives a distinctively pink letter on the same day that his girlfriend leaves him. That letter alludes to a 19-year-old son whos looking for him. Unsigned and with no discernable characteristics, the note leaves him to ponder which of the women he had slept with 20 years ago is the mother of his bastard son. His best friend, Winston (Jeffrey Wright) who moonlights as an amateur sleuth urges the ambivalent Don to track down the series of women scattered throughout the country to find out which of them sent the pink letter.\r\n\r\nThe 4 former flames are introduced chronologically as Don tracks them down, without any prior notice, in his rented car. The first of these is a single mum of a promiscuous teen aptly named Lolita (Alexis Dziena). The mother (Sharon Stone) is a lonely widow of a NASCAR driver who shows surprising appreciation for Dons unexpected visit. Satisfied that she wasnt the person he was looking for, he drives cross-country to visit the next woman on his list played by Frances Conroy (from Six Feet Under), She is a stark contrast to the previous woman, giving us a glimpse into the type of women that Don has had encounters with in the past. After a brief dinner with her and her husband, Don quickly moves on to the next flame as he starts losing hope.\r\n\r\nJessica Lange plays the penultimate person on the list compiled by Winston. As a successful animal communicator, her scenes provide some of the most awkward and amusing moments in the film such as her cat, Winston that manages to understand Langes character. As Don is left without answers once again, he hopelessly makes his way to meet the final woman, a biker chick (icy star of The Chronicles of Narnia: The Lion, The Witch & the Wardrobe, Tilda Swinton). This encounter proves to be the most intriguing as unlike the rest of his ex-girlfriends, his break-up with her was acrimonious and he isnt greeted as amiably as he hopes.\r\n\r\nEach fascinating reunion offers up subtle hints to each relationships failure and the lives these women now lead. During these visits, Don keeps a watchful eye for details that could establish the link with the letter he received. Several red herrings are thrown in to keep a sense of mystery throughout the film, but the real hints come from the understated interactions that Don has with these women.\r\n\r\nMasquerading as a film about finding somebody, its actually an exploration of ones self and is very much a character study of a despondent Don Juan figure who has not made any attempt to reconnect to a life he once had. Don is a stoic and unflinching witness to his own life as he begins his search with quiet enthusiasm. Through the opening scenes, its quickly discernable that he is going through the motions in his life as we see him in his track suit in front of the television, oblivious and unfazed by his girlfriend leaving him. Realising his predicament, he tries to rewrite the last few decades of his life though a singular road trip down memory lane and finds out that he might just be the only person in his life that is still stuck in neutral.\r\n\r\nWith Bill Murray in mind, Jarmusch has created an extremely humane and sympathetic character that becomes more involving as the film goes on. Maximising Murrays talents for minimising and underplaying his characters, Dons reserved demeanour and unexpressive persona is excellently portrayed with remarkable restraint by the actor. He sports a deadpan countenance that looks like he has been nursing a perpetual hangover and only through the rare occasions of laconic inflection and brief expressions through his doleful eyes do we see the full scope of his melancholy.\r\n\r\nEven as a character study, the films supporting characters are well-defined. Particularly, Winston played by the vastly underrated Jeffrey Wright who most notably played a gay New Yorker in the 80s closely connected to the AIDS epidemic of the time in HBOs Angels in America. This time around, he is a first-generation Ethiopian immigrant who works 3 jobs and still pursues his passion and zest for detective work. The most important aspect of his character is that he is a staunch family man with a loving wife and 5 kids. It provides an interesting perspective for Don as his friendship with Winston is a constant reminder for him to see what could have been. Don looks to him to reflect his own inadequacies due to his wanton relationships with women.\r\n\r\nAlthough the 4 women introduced are distinctive and have their own voices, the writing does tend to steer towards stereotypes. For example, Frances Conroys unhappy realtor seemingly stuck in a loveless marriage harks back to American Beauty or Tilda Swintons abrasive redneck character that ends up getting Don socked in the eye. Through Jarmuschs episodic style of narrative, each encounter does not precede anything more than whats on view and we are left with incomplete shards of characters that dont transcend its clichs.\r\n\r\nAlthough Jarmuschs least strident film, it probably has the most anti-climatic ending in recent history, which should potentially infuriate or delight audiences. The ending rams home the films primary message of appreciating the journey more than the destination. In a person\'s life, opportunities arise to offer somebody a chance to find out and define who they are or who they want to be. Combining Bill Murrays tremendous acting chops with a formidable female cast has demonstrated a masterstroke from its director and this is 1 of the better movies this year. Dont leave the cinema too early as the credits offer a fantastic insight into the ending.\r\n\r\nRating: 4 out of 5 stars\r\n\r\nJustin Deimen\r\n\r\n=====================\r\n\r\nJust posted a review of The Constant Gardener and thought I\'d share another of a gem. Murray\'s understated performance actually in many respects outshined that of his character in Lost in Translation. Layered yet easily discerned, he manages to make his character vulnerable yet strangely jaded in his quest for meaning and perhaps the mistake that wasn\'t.','79e5b7ec443fd728f7763b8db6ee8a7f',0,'','xG5Jftg6',1,0,'',0,0,0),(11856,2139,3,1,0,'69.120.114.47',1152685320,1,0,1,1,1,1,'arsaib4','Re: Broken Flowers (2005)','Good review, Justin. I completely agree with this point:\r\n\r\n\"Although the 4 women introduced are distinctive and have their own voices, the writing does tend to steer towards stereotypes. For example, Frances Conroys unhappy realtor seemingly stuck in a loveless marriage harks back to American Beauty or Tilda Swintons abrasive redneck character that ends up getting Don socked in the eye. Through Jarmuschs episodic style of narrative, each encounter does not precede anything more than whats on view and we are left with incomplete shards of characters that dont transcend its clichs.\"\r\n\r\nAlso, Bill Murray was wonderful, indeed. While overall I prefer Lost in Translation, this film featured his career-best performance.','7ec01d635ac45bb8a8ce9dd86e3162f9',0,'','aDZP1j6F',1,0,'',0,0,0),(11857,2140,3,1,0,'69.120.114.47',1125902100,1,0,1,1,1,1,'arsaib4','Fernando Meirelles\'s THE CONSTANT GARDENER (2005)','The Constant Gardener is a gripping and fascinating mixture of a requited love story and a political intrigue thriller, but more importantly, it delivers a potent message against the exploits of our corporate giants in Third World countries. Directed by Fernando Meirelles (City of God [2003]) and based on a John Le Carr\'s dense novel of the same name, the film concerns an uptight British diplomat named Justin Quayle (Ralph Fiennes) who is leading a rather monotonous life with his plants until he meets an eccentric activist, Tessa (Rachel Weisz in an Oscar worthy performance). Tessa convinces Justin to take her along to his post in Kenya where she discovers malpractice from pharmaceutical companies who have ties with high-ranking political officials. With help from a Kenyan doctor (Hubert Kound), she prepares a report of the wrongdoings and sends it through Justins friend and Head of Chancery (Danny Huston) to the High Commissioner (Bill Nighy) back in London without fully recognizing the consequences.\r\n\r\nBy employing an elliptical approach to his narrative, Meirelless transformation of his leading man, who by nature remained ambivalent about his wife and her cause early on, is graceful and proficient -- and its certainly helped by the fact that Fiennes has played similar characters before. Working with his City of God DP, Csar Charlone, Meirelles vividly portrays the poverty-stricken villages, but at times his stylistic flourishes still come dangerously close to becoming an exercise in strained picture-postcard aesthetics (one of the many problems his debut feature had). However, whats encouraging is his reserve when it comes to violence and emotional conflicts, not to mention his handling of the narrative as it passes through multiple tones and genres. Thats not to say that The Constant Gardiner doesnt indulge in broad strokes or even didacticism at times, but it still has a powerful and affecting resonance due to the pertinence of its overall agenda and Rachel Weisz, whose mere visage makes the film come alive.\r\n\r\n_______________________\r\n\r\n*THE CONSTANT GARDENER is now playing in theaters nationwide.','565edfda98a46a7adfca87760685180f',0,'','Xac5r0t7',1,0,'',0,0,0),(11858,2140,3,1,0,'69.120.114.47',1126327740,1,0,1,1,1,1,'wpqx','Re: Fernando Meirelles\'s THE CONSTANT GARDENER (2005)','It seems the more I write about this film, the more negative I get. I did like certain aspects of the film and I wouldn\'t dismiss it outright, but I did find it disappointing. Always skeptical when a foreign director makes his English language debut, and unfortunately I don\'t think his first effort was as good as Hector Babenco\'s.','e267aabc7b6dcb56d9623f1b141e5657',0,'','TCQl4p3i',1,0,'',0,0,0),(11859,2140,3,1,0,'69.120.114.47',1140536520,1,0,1,1,1,1,'hengcs','Re: Fernando Meirelles\'s THE CONSTANT GARDENER (2005)','\r\nI have just watched it ...\r\nIf I have the time, I will write something ...\r\ntime!!!\r\n:P','5f5836655b55efebc0d9f141a169c558',0,'','qm9CX2go',1,0,'',0,0,0),(11860,2140,3,1,0,'69.120.114.47',1147398960,1,0,1,1,1,1,'A','Re: Fernando Meirelles\'s THE CONSTANT GARDENER (2005)','I\'ll try to watch it. City of God had many problems, but was nevertheless worth seeing. Judging by arsaib\'s comments, The constant gardener will feel somewhat similar for me. \r\nWhen i see it, I\'ll add some comments.','66d05af08067e3e0948cb4f90a8cc7eb',0,'','vQBGS64f',1,0,'',0,0,0),(11861,2140,3,1,0,'69.120.114.47',1152535980,1,0,1,1,1,1,'justindeimen','Re: Fernando Meirelles\'s THE CONSTANT GARDENER (2005)','Guys, bare with me on this review. It\'s a review of the film as well as a exposition on the issues that it brought up.\r\n------------------------------\r\n\r\nThe Constant Gardener is a sophisticated political thriller adapted from John Le Carres novel of the same name. Its a thought-provoking look into the African situation that were guilty of trying to keep out of mind and out of sight. This conspiracy-thriller-cum-love-story follows a British diplomat in Kenya, Justin Quayle (Ralph Fiennes) as he challenges all odds to find out why his wife, Tessa (Rachel Weisz) was murdered on a dusty trail in East Africa.\r\n\r\nThe film starts with the end of Tessas journey, as her mutilated body is identified at a morgue in Kenya. The shock of his wifes death and alleged infidelity with a black doctor sends Justin spiraling. Faced with a prima facie case of a crime of passion between 2 lovers, investigators back off from digging into Tessas work with impoverished Kenyans and her concern in a pharmaceutical companys apparent humanitarian efforts.\r\n\r\nUpon discovering illicit letters hidden away by Tessa, Justin is jolted into investigating the last few weeks prior to his wifes death. Like a robot, Justin reprogrammes himself from a mild mannered diplomat to a resolute man, driven by anger and his increasing doubts about the circumstances of his wifes murder that are being fed to him by his superiors. He embarks on a quest spanning Europe and back to the ends of the African continent.\r\n\r\nJustin is increasingly uncomfortable with Tessas relationship with her confidant, Arnold Bluhm (Hubert Kound), the black doctor with whom she shares her idealism and humanitarian efforts. This develops the suspense by showing us sequences that Justin wasnt privy to. As the film leads Justin down the wrong paths, it also builds immediate empathy for the increasingly well-rounded character.\r\n\r\nJustins odyssey for answers forces him to look through the eyes of Tessa. He continues what she had started with her fervent efforts to aid the indigent natives, to search out clues, overcome dead-ends and weed out the red herrings. It compels his change to a reckless and ingenuous man on the precipice of a breakdown from his increasing paranoia. The discovery phase of conspiracy and the players in the film urge the momentum to gallop through to Fienness best performance this year (including his turn as a blind diplomat in The White Countess that is still being shown in cinemas sparingly).\r\n\r\nFiennes, although receiving fewer nominations than Weisz in various prestigious film awards (especially Weiszs nomination for Best Supporting Actress in this years Oscars), overwhelms Weiszs performance. His stark portrayal of a detached and pragmatic bureaucrat that becomes a driven and angry man in search of the truth is pitted against Weiszs Tessa, a hothead radical who strikes out at the worlds injustices with wild abandon and indiscretions.\r\n\r\nThe metaphor of Justins hobby, gardening, is used to describe his delicate personality. A world without weeds as Tessa puts it, is his way of keeping things perfect and controlled in his world, something that Tessas report on pharmaceutical drug testing in Africa turns upside down.\r\n\r\nIts another feather in the cap for Focus Features and director, Fernando Meirelles after his sensational epic, City of God, which dealt with poverty and limiting environments that have stayed unseen from a bourgeois perspective. This film fits like a glove for his style of invoking sympathy and guilt for the surrounding that the characters have to immerse themselves in during their pursuit for truth.\r\n\r\nThe handheld style of shots put us straight into its colourful ambience and emotional state of its characters. Its fantastic cinematography in Kenya makes this one of the most arresting tourist-films this year as we are transported to lands many of us dare not find ourselves in. The visual palette represents the anarchy and bedlam in the northeastern regions of Africa. An inspired decision that heightens every nuance and emotion felt each time a sliver of information about Tessas death is released.\r\n\r\nThe soundtrack by Alberto Iglesias (again nominated at this years Oscars) is haunting and rapturous, ranging from the celebratory to the sombre. The rich and layered native music of the African region is scattered throughout scenes that supplements the films hard-hitting imagery.\r\n\r\nThe editing work is one of the finest Ive seen (no wonder it was nominated for Best Editing at this years Oscars) as the story constantly switches from past to the present. Its grim portrayal of Tessas and Justins future in the opening scenes makes the rare moments of joyful bliss in Justins memories become a bittersweet experience as we question their commitment to each other and their eventual fate.\r\n\r\nWas he now or was he ever Tessas one true love? Or perhaps, he is just a victim of a callous woman set in her wild ways after the whirlwind romance that they shared was prematurely hampered by the tedium of marriage. Besides the questions that run through our minds, the one true constant in the film is the love that Justin feels for Tessa throughout the meandering and disjointed narrative.\r\n\r\nThe enigmatic structure of the novel was kept as it exposes a riveting and unfiltered view of a mans transformation into an avenging angel. Justin travels from country to country with a fake passport as he undertakes in cloak and dagger activities that result in him getting threatening messages left in his hotel room. Like a page out of James Ellroy and L.A. Confidential, Justins journey for truth is so banal that it ends up full of character. Its operatic in style as passion and intrigue from its twists plays a pivotal part in the story. Characters are not as they appear to be, as through flashbacks and episodic revelations, we begin to inch closer to the truth.\r\n\r\nThe films thriller aspect, although well done is dwarfed by the storys intrinsic need to reveal a greater truth than what happened to Tessa. It wants to show us a deeper and cutting view of life in Africa, one that we have heard about but never really wanted to know about. It wears its heart on its sleeve, as we need not question its motives of creating awareness in the region. The resonance of the story hits home with Meirelless sleight in creating an indomitable spirit within the Africans, while we are sucked into a maelstrom of unsettling actualities.\r\n\r\nIts wildly determined efforts prod us to change and look at the smaller picture from a different point of view. It\'s a draconian, austere and verite document of greed and suffering. Its not just an African problem but also a human problem that we face. The truths it discloses are retching, always dreary with no sign of optimism in the horizon.\r\n\r\nThe post-colonial depiction of life in Kenya is striking, even if depressing. Extracting the story from Le Carres reservoir of political and socio-economic musings needed this film to have a highly literate and derivative dialogue that refuses to yield to the average moviegoer. However, the nature of Meirelless direction takes its cue from easily discernable shots of dying Africans and ravenous men in suits coupled with the top-drawer performances by its cast, making it a highly involving film.\r\n\r\nBureaucracy and responsible corporate governance are put under a microscope, its indifference and tolerance for the necessary evils are seen as the first step to more heinous and atrocious acts. Such as the reprehensible drug companies ravaging on the humanity and the freedom of unsuspecting Africans by offering insultingly little or nothing at all to Africans, setting a meagre price on their lives to further their profits in more civilised nations. The corporations perceived vested interest in the plight of AIDS-afflicted Kenyans is nothing more than a con to exploit them as cheap labour and more effective guinea pigs for their new drugs.\r\n\r\nIt leaves us with an eager and hopeful but rather weighty issue of whether this film featuring the bleak outlook of life in Africa, or perhaps life in general would reach out to our better angels. Or will this just be another film where a shameful and lurid reality is exploited to be observed by audiences in armchairs for entertainment?\r\n\r\nElegantly crafting a love story set in the contemporary world of global politics, Le Carres insights of the machinations of those involved could be construed as conjecture, although there is clearly a significant measure of reality in his concerns about the influence of multinational corporations and their capacity to wield their clout mercilessly among political circles.\r\n\r\nDespite a specious storyline and absence of pretence, it still harks true to real-life humanitarian violations that have taken place in Africa. Pharmaceutical giant, Pfizer once administered a dangerous drug in Nigeria to obtain licensing for it after a ban in other continents when it was found that it caused arthritis. The results of the drug testing have yet to be released.\r\n\r\nUnfortunately the film left me cold and cynical, with the realisation that there is no end in sight for the horrors faced in Africa. Has the reality of a dispensable human life finally put fiction to the sword?\r\n\r\nThe true gravitas of the situation, masked behind the lush Sahara, hits you in the final scenes of the film. It runs the full gamut of emotions as youre taken for a ride through grief then anger, and finally sheer horror. Not since Hotel Rwanda has a film kept me so emotionally invested in the lives of the characters and its resounding message if you can help one person, that\'s better than not doing anything at all.\r\n\r\nVisit the ConstantGardenerTrust.org to improve living conditions in Kenya\'s slums.\r\n\r\nRating: 4 out of 5 stars\r\n\r\nJustin Deimen\r\n\r\n================================\r\n\r\nHope you enjoyed the review. I loved this film. There\'s just something sad about how the African plight is only brought up in mainstream media when it seems to have an underlying purpose. Like children and innocent lives being lost is not reason enough...','5a3540da803016c74a3bbac12f2e79b5',0,'','raJTV3jb',1,0,'',0,0,0),(11862,2140,3,1,0,'69.120.114.47',1152555060,1,0,1,1,1,1,'wpqx','Re: Fernando Meirelles\'s THE CONSTANT GARDENER (2005)','I must say you seem to have a strict rating system. I would rate The Constant Gardner a similar 4/5 rating, but wasn\'t nearly as impressed with it as you were. I found it too obvious and it failed to really grab me. Granted its been nearly 10 months since I\'ve seen it so its not exactly fresh in my mind anymore. I appreciate your rather extensive review, and in general your contributions to this site thusfar, a new reviewer always helps the rest of us to raise the bar a little higher.','2d0fc076fa5686f22897230106be4301',0,'','eRdVntTE',1,0,'',0,0,0),(11863,2140,3,1,0,'69.120.114.47',1152557760,1,0,1,1,1,1,'justindeimen','Re: Fernando Meirelles\'s THE CONSTANT GARDENER (2005)','Thanks for the read. Always a thrill to have shared views with somebody with impeccable taste So far I\'ve been posting reviews of movies I have liked. Maybe in future I\'ll post a few scathing ones of the progenies Hollywood machine.\r\n\r\nIn hindsight, I would actually have given Constant Gardener a higher score. Months on and I\'m still mesmerised by the beaty and sheer gravitas the film afforded me, the cynical me. I occasionally pop in the soundtrack to bring me back to the credits when the haunting music lacquers the final scenes of the film. It\'s an emotional trip if you vest yourself in the film outer aspects - the background, the people.','b28a544df0fecf186cbe54932b64ed7d',0,'','JGnNY7s3',1,0,'',0,0,0),(11864,2140,3,1,0,'69.120.114.47',1152558060,1,0,1,1,1,1,'wpqx','Re: Fernando Meirelles\'s THE CONSTANT GARDENER (2005)','I still found it rather deliberate, but my expectations were overly inflated after City of God topped my year end list for 2003. Generally though it is easier to write about films you enjoy.','14660ceb7f7f5aa70b62d88d4ec93bf2',0,'','2sfK0QGm',1,0,'',0,0,0),(11865,2141,3,1,0,'69.120.114.47',1151551260,1,0,1,1,1,1,'A','Before Sunrise','I watched the film again after about 5 years, and while back than it seemed a bit childish to me, the way those two people were talking and kind of blocking themselves, I must say I liked it much more this time around. I didn\'t notice some of the great filmmaking the first time around, and particularly the last 20 minutes and the ending are outstanding.\r\nInstead of a review (you know why ) here\'s the poem from the gorgeous looking street bum which he writes for and reads to Celine and Jesse in the film.\r\n\r\nDaydream delusion\r\nLimousine eyelash\r\nOh, baby, with your pretty face\r\nDrop a tear in my wineglass\r\nLook at those big eyes\r\nSee what you mean to me\r\nSweet cakes and milkshakes\r\nI am a delusion angel\r\nIm a fantasy parade\r\nI want you to know what I think\r\nDont want you to guess anymore\r\nYou have no idea where I came from\r\nWe have no idea where were going\r\nLodged in life, like branches in the river\r\nFlowing downstream\r\nCaught in the current\r\nI carry you, youll carry me\r\nThats how it could be\r\nDont you know me?\r\nDont you know me by now?','c0439a5da94b4b200609790b7d011500',0,'','gn1PAR7S',1,0,'',0,0,0),(11866,2141,3,1,0,'69.120.114.47',1151560140,1,0,1,1,1,1,'wpqx','Re: Before Sunrise','I only saw the film for the first time a little over a year ago, maybe two. I found it one of the absolute best films I\'ve ever seen, and just thinking about the film gives me an extremely warm and pleasant feeling reserved only for the films that truly touch you. Before Sunset was very good, but it didn\'t have that idealistic optimism that was so prevalent in Sunrise.','4d5145250690640477590418e7bdd9a1',0,'','uGl3qtJe',1,0,'',0,0,0),(11867,2141,3,1,0,'69.120.114.47',1151563440,1,0,1,1,1,1,'arsaib4','Re: Before Sunrise','I think that idealistic optimism wasn\'t there because the character we met in Sunset were more mature, more aware of themselves. They had also gone through various disappointments in their lives which wasn\'t quite the case in Sunrise. Both films have their strong points, so for me it\'s difficult to say which is better. (Linklater and his companions have stated that they\'ll be back for a third installment.)','65eb7b473eb44a59a819b9e1d17182eb',0,'','Rr4F0eWf',1,0,'',0,0,0),(11868,2141,3,1,0,'69.120.114.47',1151565180,1,0,1,1,1,1,'wpqx','Re: Before Sunrise','I think perhaps I identify with Sunrise better because the characters in that film are closer to my age, before the weight of the world crushes their dreams. I found Sunset a little sadder naturally, but the ending I thought was absolutely charming. I just think that Sunrise showed that the concept actually being in love could happen in our generation, despite what we may have thought. Sunset kind of shattered that illusion to me, but it showed a different kind of truth. Not sure what a third would be like, but then again I wasn\'t quite sure about a second.','8ccb7ac577d252820c59e86cf684ddaf',0,'','SX2xhTjD',1,0,'',0,0,0),(11869,2141,3,1,0,'69.120.114.47',1151594820,1,0,1,1,1,1,'trevor826','Re: Before Sunrise','My two eldest sons are very much in agreement with you wpqx, age is definitely an issue and that\'s almost certainly why I prefer (ever so slightly) Before Sunset, though I\'d hate to think my dreams have been crushed, being a romantic I\'d rather say they\'ve altered. Either way, they are both very good, enjoyable films.\r\n\r\nCheers Trev.','bf991dbefe2d4c2a5d19a8e136c54f0d',0,'','TxJ49Smg',1,0,'',0,0,0),(11870,2141,3,1,0,'69.120.114.47',1151616360,1,0,1,1,1,1,'A','Re: Before Sunrise','I think you\'ve all made valid points on the two parts. I must say that something similar to the first film has happened (more than once) to me, and I feel it\'s a very realistic and romantic film. But I must say, that the second one appealed much more to me, as the characters are closer to myself (though I was still a bit complaining about their immaturity to myself during the screening, but probably I saw myself in it more than I wanted ) It is difficult to do the right thing in reality, though we often know what we want when alone...\r\nI also think it has to do with your own experiences which one you prefer, and while I\'m 22, that doesn\'t have much to say in itself. I think the second one is even more romantic and idealistic than the first film, exactly because of the many disillusions the two characters have gone through - and still they are trying to find each other again. In the first one both were more in the way of finding themselves and exploring the world for the first time, which is what most people go through. But after some disappointments many settle for something in the middle and become more \"realistic\"... \r\nI always try to feel enthusiasm and passion anew, and try to see my past mistakes more like something to learn from and improve upon. \r\nBut I\'m still waiting for the third which i hope to be final perfection (though I don\'t know how it could develop, as my personal experience sadly hasn\'t undergone such reunitements )','484813a4f2f86ceddd26463a809a4818',0,'','YBjUCJq3',1,0,'',0,0,0),(11871,2142,3,1,0,'69.120.114.47',1128589140,1,0,1,1,1,1,'hengcs','Corpse Bride (2005) (USA)','\r\nIt was good but it did not wow me away ...\r\n\r\nPS: More to write ...','c6f180d91afa2da2f5970ed2ff6ca89a',0,'','FQMXYUbu',1,0,'',0,0,0),(11872,2142,3,1,0,'69.120.114.47',1132267560,1,0,1,1,1,1,'trevor826','Re: Corpse Bride (2005) (USA)','Unfortuately ordinary with an extremely predictable plot after the wonderful \"A Nightmare Before Christmas\", just not in the same league.\r\n\r\nI also think it\'s time Tim Burton got over whatever fixation he has with his father as this comes through in virtually every film.\r\n\r\nCheers Trev.','35e31228e6260c00cb7477fac84b5e98',0,'','7d5fMTZN',1,0,'',0,0,0),(11873,2142,3,1,0,'69.120.114.47',1151301060,1,0,1,1,1,1,'wpqx','Re: Corpse Bride (2005) (USA)','I found it enjoyable at parts, but a little underwhelming. The musical numbers seem a little out of place and too sparse to serve any real purpose. I still had a few laughs and ultimately I did enjoy it, but perhaps not the best offering. I did however love the inclusion of Christopher Lee whose voice is instantly recognizable as the pastor. btw were are those additional comments you promised?','d6c94d39b202a82fceccf5e0b7862d96',0,'','H7NyqvVP',1,0,'',0,0,0),(11874,2142,3,1,0,'69.120.114.47',1151302440,1,0,1,1,1,1,'Johndav','Re: Corpse Bride (2005) (USA)','Well, i enjoyed it- its stylisation reminded of Belleville Rendezvous as well as the slightly stronger Nightmare before Xmas- but i agree it could certainly have done without the one gaudy musical number half-way through, that altered the whole tone. Still, i do find Burton among the few interesting American directors at present, though most of his films are flawed. Big Fish was underrated- i even found it quite moving.','3398064b3f22e3003193763bbf68ad9a',0,'','3PjBvLsK',1,0,'',0,0,0),(11875,2142,3,1,0,'69.120.114.47',1151303940,1,0,1,1,1,1,'wpqx','Re: Corpse Bride (2005) (USA)','Glad to hear somebody say that, I\'ve been praising the film for three years now and no one seems to agree with me (Big Fish of course). I love Danny Elfman\'s music, just seemed out of place here. It was much better used in Charlie and the Chocolate Factory. Speaking of which last week I caught a little of the original on TV, and holy christ that movie is @#%$ awful, I mean just piss-poor filmmaking. Burton\'s film is a thousand times better.','eba5bf881d57dabf2d39316f13f03f39',0,'','ogWNz1eP',1,0,'',0,0,0),(11876,2142,3,1,0,'69.120.114.47',1151309100,1,0,1,1,1,1,'arsaib4','Re: Corpse Bride (2005) (USA)','I liked both Charlie and Corpse Bride, but I think most would agree that Burton has done better in the past, and so they sort of left me demanding more. \r\n\r\n(Btw, I\'m having a hard time believing that we have 3 Big Fish fans here. Well, at least, they\'re all together now. )','31578e3258b68c528ac3843828072c5d',0,'','UJL6c3zx',1,0,'',0,0,0),(11877,2142,3,1,0,'69.120.114.47',1151426400,1,0,1,1,1,1,'A','Re: Corpse Bride (2005) (USA)','Haven\'t seen \"Charlie...\" or the Corpse Bride, but count me in as a fan of Big Fish. \r\nBut I also have to agree with Trevor:\r\n\"I also think it\'s time Tim Burton got over whatever fixation he has with his father as this comes through in virtually every film.\" \r\n\r\nThe Nightmare before Christmas would be my favorite Burton film, IF it was directed by Burton. After all this years, I think that Henry Salick was probably better suited for it.','38364c1762a5df1c6ee21d9dd38b2a1e',0,'','5TUlwotM',1,0,'',0,0,0),(11878,2142,3,1,0,'69.120.114.47',1151450100,1,0,1,1,1,1,'Sara','Re: Corpse Bride (2005) (USA)','Nightmare was better, yes. But I loved Corpse Bride. \r\n\r\nBut nothing quite comes up to the Triplets from Belleville! (And those frogs - and the grandmother\'s shoe and tricycle...)\r\n\r\nSara','7e14433cd55553e8338e3af4f447d5d7',0,'','js2myidt',1,0,'',0,0,0),(11879,2143,3,1,0,'69.120.114.47',1149778860,1,0,1,1,1,1,'hengcs','Cars (2006)','\r\n\r\nDirector: John Lasseter\r\n\r\nThe official site\r\nsee\r\nhttp://www.disney.go.com/disneypictures/cars\r\n\r\nMy thoughts ...\r\n\r\n-- I would like to credit those who draw the animated cars. When I first saw the poster (and subsequently the trailer) of the various cars, I have already convinced myself to watch this movie, regardless of how it fare. After all, don\'t you agree that the cars are very well drawn? hee hee ...\r\n\r\n-- Although the laughs are intermittent and not throughout (or funny enough for kids), there are still numerous nice humor. Off hand now, I can recall a few ...\r\n... dont miss the first race\r\n... dont miss the last \"drive in\" movies ...\r\n\r\n-- As usual, these animations have important messages for all ... \r\n(i) such as family and friendship, \r\n(ii) and life as a journey rather than the destination ... \r\n(iii) and adults may appreciate the sentiments or reminiscences about \"good old days\" slightly more.\r\n\r\n-- In terms of pacing, I think the two races are exciting ... wow ... \r\nbut occasionally, the pace may slow down (no good?!) ... oh no, isn\'t that the message of the movie?! (too bad, they do not want the audience to race through, but take a back seat once in a while ... ha ha ha) ...\r\n\r\n-- I like two of the songs ...\r\n... (song name?) song when they reminisce about the past\r\n... (song name?) song during end credits\r\n\r\nWhat could be better (if at all)?\r\n-- the humor/joke should be more frequent and tailored more towards kids; after all, it is an animation primarily targeted at kids ... \r\n-- the pacing in the middle ... unless you really want the audience to \"slow down\" so as to better \"understand\" the message ... but do you really need to?\r\n-- some also feel that americans can better appreciate some of the settings and scenarios and jokes ... (although the messages can be applied universally)\r\n-- a technical \"inconsistency\"?! ... that McQueen was repainted but appeared same for the second race (i can only presume they have to do so for the \"sponsor\'s sake\" ...) ... but then, McQueen was back to its different paint at the end (i can only presume it does so because it returns to Radiator Springs ...) ... but frankly, was it an oversight after rendering?! * puzzled *\r\n\r\nConclusion\r\nRecommended. It can be better, but it is definitely not a flop. So, give it a chance! Who knows, if no better animation is in competition, it may walk away with the Oscar next year.\r\n\r\n\r\nPS: \r\nDo not be late, there is a short before the movie, \"One Man Band\" ... Very funny!\r\nDo not leave early, there are clips during the end credits ...\r\nBUT ALSO, there is an ending clip at the end!','3a6d2978e59254887f9fa0350d333d37',0,'','mXblWoyG',1,0,'',0,0,0),(11880,2143,3,1,0,'69.120.114.47',1149829620,1,0,1,1,1,1,'hengcs','Re: Cars (2006)','Hmmm ...\r\nI think the song is Our Town (by James Taylor)','77635058ef6c465bc0e6f0da65d7ee60',0,'','4J6qfFct',1,0,'',0,0,0),(11881,2143,3,1,0,'69.120.114.47',1150122480,1,0,1,1,1,1,'hengcs','Re: Cars (2006)','I forget to add ...\r\n\r\nI also like\r\n- The Kenny G joke ... hee hee\r\n- The \"neon\" cars ... wow ...','3767fecd6603ec1c8ffe3372e6f3245c',0,'','sHiBTMl3',1,0,'',0,0,0),(11882,2143,3,1,0,'69.120.114.47',1150369920,1,0,1,1,1,1,'trevor826','Re: Cars (2006)','I am looking forward to the UK release which coincides (unfortunately) with the schools breaking up for summer. How does it stand in comparison to the other Pixar movies hengcs? The premise doesn\'t really do anything for me, I\'ve never had much interest in cars but this is Pixar and they haven\'t failed feature-wise yet.\r\n\r\nI don\'t want to even think about the short that was on before \'The Incredibles\'.\r\n\r\nCheers Trev.','a6bcc71c79f76f55c6cbef8a62eaf369',0,'','kcUj5uSY',1,0,'',0,0,0),(11883,2143,3,1,0,'69.120.114.47',1150456080,1,0,1,1,1,1,'hengcs','Re: Cars (2006)','oh no ...\r\nyou just gave me the tough job of ranking again ... ha ha ha\r\n\r\nanyway,\r\nI still like Toy Story the best ...\r\nand maybe The Incredibles ...\r\nthen Finding Nemo ...\r\n\r\nCars ... should be after these 3 ...','f4689bf0c654157a716d2885ef4f601d',0,'','3FyjBPfr',1,0,'',0,0,0),(11884,2144,3,1,0,'69.120.114.47',1149407520,1,0,1,1,1,1,'arsaib4','George A. Romero\'s Land of the Dead (U.S. / 2005)','[Originally posted July \'05]\r\n\r\n\r\n\r\nHorror films have always gotten away with A LOT: whether its ultra-gratuitous sex, stomach-churning violence, or \"relevant\" socio-political commentary. While horror-maestro George A. Romeros Land of the Dead, his long awaited return to zombie country he practically created, unfortunately doesnt feature any sex, it sure supplies the other two elements in abundance. Violence has been and will always be quite relative, but now apparently everyone has a thing or two to say about our political situation -- and it aint subtle. It could be said that Mr. Romero and his zombies have has woken up a year late, but no matter what, they arent happy with Bush II (ably played by Dennis Hopper in the film), and they wanna take the matter in their own hands and mouths since the \"living\" havent done much about it. \r\n\r\nIn the film\'s post-apocalyptic landscape, Pittsburgh is an important place for the rich because its guarded by water on three sides, so they all live together in a towering skyscraper. The rest, however, hustle and grind on the streets, barely surviving. A few of them have been recruited for supplies and protection -- led by a good-natured soldier (Simon Baker) and a boisterous mercenary (John Leguizamo). When one of them is shunned by the authority at the tower, the other is sent, along with a small army that includes a former hooker (the always bewitching Asia Argento, the reason I was disappointed by no sex), to eliminate him and his plans. Meanwhile, the zombies have also started their march toward the city, and now they\'re more determined than ever: they can partially communicate and use various weapons, thanks to us, of course. \r\n\r\nPeople looking for genuine horror might want to avoid Land of the Dead because other than a few \"boo\" moments, there isnt much else to write home about; gore is aplenty, though. Romero certainly knows the basic rules for these sorts of films, and so he keeps the pace and the energy level quite high throughout. However, that doesnt support any character development, even though Leguizamos motor-mouth and Argentos wardrobe do their best to deter our attention. Still, there are some clever sequences (zombies are easily distracted by fireworks -- of our victory in Iraq perhaps?), and Romero facetiously keeps switching the target of our sympathies. \r\n\r\nLand of the Dead\'s cinematic values are the highest among all the other Romero zombie flicks -- Night of the Living Dead (1968), Dawn of the Dead (1978), Day of the Dead (1985) -- which is not surprising considering the budget. While Danny Boyles 28 Days Later (2003) remains my favorite, with Land, as NY Times\' chief film-critic Manohla Dargis said, \"You wont go home hungry.\"\r\n\r\n_______________________\r\n\r\n*Available in the U.S. on DVD (Universal).','017baa3ca820e377b9934ab99e9bd260',0,'','k2m7edj4',1,0,'',0,0,0),(11885,2145,3,1,0,'69.120.114.47',1128759960,1,0,1,1,1,1,'wpqx','David Cronenberg\'s A History of Violence (2005)','Well questions are brought up by this film, and the first one that arose for me was \"does every recent movie have to begin with a long take?\". I\'ve been noticing it a lot lately. Although many like to track and move all over the place, this shot is just long, and I think meant to be a little boring. We get a sense that these two men may be important, and in my opinion perhaps the center of the film. As we see soon though, they aren\'t exactly the main characters, but certainly the catalyst for everything that\'s going to happen.\r\n\r\nI don\'t even remember the last time a Cronenberg film played in normal theaters, so I\'m damn glad this one did. I now proceed with caution when I see a film of his that he didn\'t write, following the somewhat droning Spider. Based on that previous film though, I think A History of Violence is leaps and bounds above it, although completely different.\r\n\r\nThe violence here is also more grotesque than I\'m used to seeing in films. Cronenberg has always had an eye for disgusting visual images, so I shouldn\'t say I\'m surprised to see some of this. I\'m actually a little surprised that the murdered girl from the first \"dream\" sequence wasn\'t shown, I did think that this was a filmmaker who would go there.\r\n\r\nThus sets up the paradox, visually this film goes everywhere. We see the grueseome violence, but what we don\'t get is the backstory. We\'re not sure why Joey/Tom mutilated the made man, and we\'re not even sure when it happened. Had the film been an extra 30 minutes long these things might have been revealed, but I don\'t think they are too important. The film is more about the great lengths to hide your past, and the inevitability of it catching up with you. Plus I found the film successful on a purely entertaining level. I couldn\'t help but cheer when Tom\'s son unleashed some of his inborn rage, it was richly deserved. On a psychological level though it shows how he very well could follow his father\'s footsteps, just as the son of an alcoholic taking his first drink.','4405fa0128d0b007358d400c6b706337',0,'','nL4jWd2m',1,0,'',0,0,0),(11886,2145,3,1,0,'69.120.114.47',1134978240,1,0,1,1,1,1,'hengcs','Re: David Cronenberg\'s A History of Violence (2005)','Hey, I have watched it, but just not enough time to write about it ... in part because I am still away ...','0db1f1071d7a08024808b61a91790986',0,'','aM3GwtRE',1,0,'',0,0,0),(11887,2145,3,1,0,'69.120.114.47',1149405300,1,0,1,1,1,1,'arsaib4','Re: David Cronenberg\'s A History of Violence (2005)','[Originally posted 10/15/05]\r\n\r\n\r\n***possible spoilers***\r\n\r\nA History of Violence -- a great title, isnt it? -- is as compact and precise as films get. Its like an object whose imperfections, if there are any, are hard to find with a naked eye. Its also at once both classically conventional and chillingly radical. While, unlike other David Cronenberg films, it doesn\'t feature subversive images of teleported hybrids (The Fly [1986]), copulating amphibians (Naked Lunch [1991]), or wounds being invaded by cocks (Crash [1996]), it allows us to witness something scarier: a man being turned inside out... in front of our very eyes. \r\n\r\nThematically, there are similarities between History and Clint Eastwoods Mystic River (2003). And while the latter is vast, sprawling and, yes, imperfect, it has moments where it goes even deeper than Cronenbergs film, which is superior as a whole. The problems with Mystic lie with its \"movie\" part: the police procedural, extraneous characters, unsubtle sequences, etc. which is something Historys lean screenplay, derived from a graphic-novel, avoids. There isn\'t a wasted moment here. Unlike the morose Mystic, Cronenbergs film is at once both a mainstream thriller and an art film.\r\n\r\nViolence doesnt arrive in Millbrook, Indiana, Cronenbergs archetypal American town in the film, in the shape of mobsters-in-black; it was already there. Early on, we witness the son of everyman Tom Stall (Viggo Mortensen) playing baseball during gym class. After the high schools bully gets caught, he glowers at him, insinuating revenge, then later confronts him in the locker room. This is the sort of \"violence\" Cronenberg establishes from the beginning. He also grounds the film by showcasing an average family: Stall, who runs a diner is married to Edie (Maria Bello), a lawyer, with whom he also shares a daughter. Initially, Cronenberg slyly allows the \"Queen\" of the house in this small town to be in charge: her occupation vs. Stall\'s; him asking her for a ride to work; the woman even gets to initiate and organize their @#%$-session.\r\n\r\nThen tragedy strikes, and ultimately Stalls past comes into question. It becomes a possibility that he may have lived another life in Philadelphia, as someone else. His family life starts to deteriorate. How does he confront these issues? By resorting to what he knows best, which is violence. He marks and claims his territory via a violent confrontation with Edie after she becomes aware of his \"new\" identity and starts to resent him. This is where Cronenberg peels yet another surface: Violence existed within this man all along, and it exists within all of us in different shapes and forms.\r\n\r\nThat isnt a profound insight, but its not Cronenbergs fault that American cinema has rarely dealt with the subject matter. Eastwood, perhaps not surprisingly, has, and he came up with something spectacular and, to some, scary with Mystic River. And his harrowing display also started early on. Three kids playing hockey in the street are approached by a couple of ill-meaning men in a car. While one of the kids named Dave might be physically bigger than the other two, he seems more fragile, both emotionally and psychologically, and thus is an easier target. Another kid named Jimmy seems cocky, as one guy even says, \"So, youre the tough guy, huh?\" Dave eventually gets picked up due to his demeanor and because he lived the farthest away from where they were, but thats also where Eastwood wanted to establish Jimmys \"alpha-maleness\" at a early age by having Dave in his territory, rather than the other way around.\r\n\r\nAnd Eastwood never betrayed his aggressor, later on played by Sean Penn. Jimmys behavioral patterns could be attributed to genetics, friends, society, etc. There are no exact answers, and Eastwood is wise enough to know that. Cronenberg never quite goes there, although his dilemma might be that his protagonist is both the abuser and the victim. But both men would agree that human behavior cannot truly be explained, by any science. So, its quite an accomplishment by both of them to boldly travel a terrain which not many have tread. And along the way, they allow strong woman to be an important part of the lives of their men. Maria Bello is less accepting of her husband, but unlike Laura Linney (Jimmys wife in Mystic), she didnt lose one of her own. On the other hand, Linney had to reassure her man about the riches of their family; in History, the man already knows: \"Yes\" is all we hear and all we need to hear when the worthiness of his new life is questioned by his mobster brother (a brilliant William Hurt).\r\n\r\nBut ultimately both films meet where they end. Eastwoods is a spectacle, Cronenbergs is as quiet as it gets, yet both reaffirm the most important concept there is: Survival of the Fittest.\r\n\r\n_______________________\r\n\r\n*A HISTORY OF VIOLENCE premiered at the 2005 Cannes Film Festival (in-competition). Available is the U.S. on DVD (New Line).','ef06fc83ce9eb7c55e1a38a2edc20f3b',0,'','9zUq01Pb',1,0,'',0,0,0),(11888,2146,3,1,0,'69.120.114.47',1148542800,1,0,1,1,1,1,'hengcs','X Men III (2006)','\r\n\r\nDirector:\r\nCast:\r\n\r\nI have watched it ... I will write more ...\r\n\r\nbut as of now ... \r\n- good action, weak characterization\r\n- very watchable for a commercial blockbuster ...\r\n- hmmm ... San Francisco ... where I was ... \r\n\r\nmore imptly, i wrote early to inform that ...\r\nDO NOT LEAVE UNTIL THE CREDIT ROLLS FINISHED ... there is 1 more scene at the end ...','e8505f68cb6ae630f93e22a95514ba5d',0,'','VJ2Mzkgv',1,0,'',0,0,0),(11889,2146,3,1,0,'69.120.114.47',1148641620,1,0,1,1,1,1,'wpqx','Re: X Men III (2006)','Any second film in a series can spend all the time in the world with character development. Everyone\'s vital details were established in the first part, and if there are going to be future movies, then there\'s no sense in rushing through things. However when a third film, especially one with a prophetic title like \"The Last Stand\", comes out the characters are already done. We learned all about these characters in the first two movies, and the only really new additions should be more than familiar to readers of the comicbook. Kelsey Grammar plays Beast and he makes the most welcome addition to the family. I\'ll admit I was extremely skeptical on his ability to play a superhero, but he most certainly didn\'t disappoint. Angel and Juggernaut are the other two new members of the mutant family, and Juggernaut unfortunately falls into the general category of mutant villians barely mentioned.\r\nAngel is the son of the man who invents the \"cure\" for the mutant gene, played by Michael Murphy. Angel is dealt with in very small doses. The film begins with a scene of his mutation, and the next time we see him is when he accepts his body. I recall reading a passage from Adouls Huxley where the mention the impracticality of Angels, saying that to support wings of that size their chest would have to be nearly six feet wide, so pardon the suspension of disbelief with the rather thin actor playing him. Angel was underused in the film, and only seemed to show up at rare moments, but always to some good effect. The film in general was rather concise, and I was honestly amazed at how short it was. Director Brett Ratner is new to the franchise and he has an extremely economical mind. Not to say he\'s a great director, but a very concise no-nonsense director. Unfortunately he\'s still unable to get a half way decent performance out of Halle Berry who once again shows what a horrifically weak actress she is here. Not ot bad mouth Berry, but she\'s constantly been the worst actor in all the X Men movies.\r\nCyclops, who was very underutilized in the second film, gets even less screen time here, and his character is very quickly sent to the gallows. After the end of the second one we\'re left to suspect the worst of Jean Grey (Famke Jensen). Although anyone who\'s seen a poster for the film or caught a preview would be able to tell, she\'s naturally in the new film, so something must be up. Readers of the comic know of her alter ego Phoenix, also known as Dark Phoenix, and are also aware of the fact that she\'s about the most powerful mutant around. By the time we get a look at Phoenix we slowly begin to realize her mutant powers are godlike, and no one can really get in her way.\r\nRogue was always a crybaby in the comics, and that aspect of her personality comes out much clearer in this film. The cure is seen by her as a way to become human, which is a good thing in her case. Sure the message is tolerance, but in the case of someone who could kill anyone they touch, being human isn\'t a bad alternative. Kitty Pryde acts as a minor rival for her, and Iceman\'s affections. Pryde was shown only briefly in the last film (as was Collossus), but she has a much bigger part here, and I personally found her character quite useful. Generally I thought she was vampire food in the comics, much like the Invisible Girl, but even they have their special abilities.\r\nAs always though it is ultimately Hugh Jackman\'s movie, and one begins to wonder exactly what he\'ll be up to without Wolverine. The story however isn\'t focused on him quite as exclusively as the first two were. Instead he is seen much more as a team player than ever before. His love or lust if you will for Jean is made much more obvious this time around, and with Scott gone, he\'s given no competition, the only catch is that Jean\'s power has made her pretty much insane. The film was much more dark than the previous efforts, and in most ways a better film. The door could easily remain closed on the series, but of course it wouldn\'t be out of the question to bring the series back for another go round, as enough doors remain open. However their is something conclusive about The Last Stand, and if the series ends here, it will be on a high note.\r\n\r\nGrade A -','dd70445d9baaf8e172ac847f5f1d51d5',0,'','yPCeJDcN',1,0,'',0,0,0),(11890,2147,3,1,0,'69.120.114.47',1136709900,1,0,1,1,1,1,'wpqx','Woody Allen\'s Match Point (2005)','Well I guess I the self proclaimed Woody Allen authority should fittingly be the first to see this, and in all honesty this is the first time I have caught a Woody Allen film on the big screen. The comparissons to Crimes and Misdemeanors is relavent and there is certainly evidence to support it here. Allen was often quoted as saying that he wished his comic subplot was removed from Crimes and Misdemeanors and the film just focused on Saul Bellow\'s moral delemna. Well roughly 15 years later he gets his chance, takes his story out of the country, and makes the morally ambiguous film he wanted years ago.\r\n\r\nThe cast is in amazing form, and I think it is a blessing that Allen for once in the last two decades avoided major movie stars. Sure Scarlett Johansen is earning A-list credentials these days, but she is somewhat supporting, and after The Island she may have dipped a bit on the popularity charts. Her performance however good is still typical of the Allen heroine, alluring at first, but ultimately obsessive. Allen is a mysoginist, let\'s face it, and it shows in his movies countless times.\r\n\r\nChloe (Emily Mortimer) is by far the most typical Allen character. She is agressor in the relationship with Chris. She is all about offering her help, and it is her that makes the suggestion of where should they first have sex. Likewise she is the loving unsuspecting wife who wants the baby, coaxes him into marriage, and is generally needy. Allen males generally don\'t have to work too hard, and if they do it is only because obsessive women like Chloe and Nola (Johannsen) make it so. Nola takes the role once given to Angelica Huston in Crimes and Misdeanors and although it\'s nothing new, she has a much more alluring quality with her youth that was lacking in the earlier film.\r\n\r\nAllen\'s existentialism comes roaring back here. Once again he gets to believing that there is no point in the world, and I for one am glad this side of Allen has returned. He\'s avoided anything serious or philosophical in his last several films, so it is a welcome rememberence of Allen the more serious filmmaker, and incarnation I honestly preferred to the comedian. Although this isn\'t Allen taking himself too seriously as he did in September, but he still isn\'t funny here. In fact I don\'t recall a laugh here, but there still isn\'t an overwhelming tension built up. There is a slight relief laugh near the end, but to discuss it would give away far too much of the plot.\r\n\r\nWhen murder gets involved Allen instantly becomes obsessed with human guilt. The debate arises as to whether or not you can sensibly get away with it, not in terms of the police, but morally. This was the main theme of Crimes and Misdemeanors where Saul nearly cracked but wound up eventually living with the guilt is something that has plagued Allen since. This belief that man could get away with murder and would only get caught if he wanted to. First rate Allen, and if this is a return to form, I welcome it.\r\n\r\nGrade A -','2a261e700090b1d6c9adfa3a5a77cc89',0,'','VvqTx7cY',1,0,'',0,0,0),(11891,2147,3,1,0,'69.120.114.47',1136874600,1,0,1,1,1,1,'hengcs','Re: Woody Allen\'s Match Point (2005)','SenileFelines also like it ...\r\n\r\nBut where is SenileFelines now …','6569a7c5e4f489ea8f9e818bc7735e63',0,'','C0mvspqo',1,0,'',0,0,0),(11892,2147,3,1,0,'69.120.114.47',1138078620,1,0,1,1,1,1,'peppajaa','Re: Woody Allen\'s Match Point (2005)','I\'m not a big Woody Allen fan, but this was an amazing film. . . . dark, menacing, mysterious. . whew! Go see it.','7fc88404ea92552758f816bf5647b863',0,'','3iVMjZDX',1,0,'',0,0,0),(11893,2147,3,1,0,'69.120.114.47',1138448760,1,0,1,1,1,1,'hengcs','Re: Woody Allen\'s Match Point (2005)','\r\n\r\n\r\nDirector: Woody Allen\r\nCast: Jonathan Rhys-Meyers, Scarlett Johansson, Emily Mortimer\r\n\r\nThe film received 4 Golden Globe nominations.\r\n\r\nThe official website\r\nsee\r\nhttp://www.matchpoint.dreamworks.com/main.html\r\n\r\nMy thoughts ...\r\n\r\n-- Overall, it is a film for one to think about ... for the first half, I am rather captivated by the dialogues and lines (though I hope the pacing could move a bit faster) ... but by the second half, I like the pacing and the tension ... not sure about others, but i definitely like the way the film ENDS ... wow ... * naughty grin *\r\n\r\n-- I wonder if Asians and Westerners would have a slightly different take on the film ... why? \r\n* well, in order to make discussion simple, there will be some \"generalization/stereotyping\" on my part, so please do not take offense or be too defensive *\r\n\r\nwell, i have always wondered about the issues of \"chance/luck/destiny/fate\" versus \"control\" ... as a generalization, many american films (or people?!) tend to be more positive (so they are believers of being in \"control\" of everything, cf. the seven habits of effective people?!) ... and that one always has a choice in life ... well, for once i thought this film dares to be different by challenging the notion of being not in control and adopting an interesting ending ... \r\n\r\non the other hand, Asians (not all) tend to place slightly more beliefs in fate/destiny ... i.e., you really can\'t change anything sometimes ... so, in a way, i am very pleased to have a film that reflects on the following issues again\r\ni.e., how much does chance play in our lives?\r\ni.e., in real life, does being kind always pay? does evil always get punished? \r\ni.e., what is \"punishment\" anyway? in the law or in the mind ... \r\n\r\n\r\nConclusion:\r\nRecommended ...','7eb52c0bb2b3c0cd54e9d88e435e3a65',0,'','dRA8pmLK',1,0,'',0,0,0),(11894,2147,3,1,0,'69.120.114.47',1147729500,1,0,1,1,1,1,'howardschumann(d)','Re: Woody Allen\'s Match Point (2005)','MATCH POINT\r\n\r\nDirected by Woody Allen (2005)\r\n\r\nMatch Point has been hailed as an example of a Woody Allen comeback. If this is the best he can do to remind people of his past glory, it\'s time to re-release Annie Hall. Aside from the standard Allen cynical and negative worldview, this film has uninteresting, cardboard characters who exhibit a complete and utter lack of self-awareness. Allen is apparently so enamored of the British upper class that he endows them with a glamour and cultured elegance that borders on fantasy, and his depiction of women ranges from hysterical to clinging to morally insensitive. Allen\'s own philosophy is well expressed at the outset by the main character Chris Wilton (Jonathan Rhys Meyers), a former Tennis pro who reads Dostoevsky but whose outlook on life is south of Samuel Beckett. \r\n\r\nThe man who said Id rather be lucky than good saw deeply into life\", he philosophizes. \"People are afraid to face how great a part of life is dependent on luck. Its scary to think so much is out of ones control. There are moments in a match when the ball hits the top of the net, and for a split second it can either go forward or fall back. With a little luck, it goes forward and you win...or maybe it doesnt, and you lose. So much for skill, experience, and the power of intention in life. Set in a London that is barely recognizable to most ordinary people, Wilton is hired as a tennis instructor and his first pupil is a member of the wealthy Hewitt family, Tom (Matthew Goode). Affable but rather vacuous, Tom is engaged to be married to the sultry Nola (whatever Nola wants, Nola gets) played by Scarlet Johanssen. \r\n\r\nChris can\'t take his eyes off Nola but falls under the spell of Tom\'s sister, Chloe (Emily Mortimer) who seems to be more obsessed with the idea of love, marriage, and children than with the reality. It is not long before Chloe gets her wish to make momma happy and Chris becomes part of the family, working for dear old dad in the business world. The two seem to share a love of the opera but in a way that is so detached and devoid of emotion they could just as well be addicted to hanging wallpaper. \r\n\r\nBored with the job and guilty about his inability to make Chloe pregnant (another run of bad luck presumably), Chris thoughts turn to the more appealing Nola but when Nola gets pregnant instead of Chloe (darn the luck), some serious decisions have to be made. Try as I might, I found no interest in the characters, their outlook on life, and little concern for how it all turned out. To say I found the ending as appalling as the beginning doesn\'t imply that I found anything worthwhile in between. The only plus I can allude to is that Allen does not appear on screen. Chalk it up to luck.\r\n\r\nGRADE: C-','a371df9cb04a4e511d960ad8e22afeb4',0,'','Q8e9YSZg',1,0,'',0,0,0),(11895,2147,3,1,0,'69.120.114.47',1148168880,1,0,1,1,1,1,'A','Re: Woody Allen\'s Match Point (2005)','Interesting varying comments on Allen\'s new film. I haven\'t seen it yet myself, but as a woody Allen fan I hope to have seen all of his films sometime in the future. It was playing in a lot of theaters near me, but I wasn\'t interested, since his output after the millenium doesn\'t seem much to me. The last film by Woody I saw in a theater, \"Melinda and Melinda\", was actually the worst of about 20 films I\'ve seen by him. But it was also the first of his films I gave a slightly negative rating. Usually I find his films entertaining in a good sense. The funny thing is that I think he made his best films in the late 90s, followed by the late 70s. I hope he will return to form sometime again, but I will have to wait with my own judgment until I see \"Match Point\" or more probably his next one.','03baf5a57498787559f36efdd04c7401',0,'','lHNsrwj6',1,0,'',0,0,0),(11896,2147,3,1,0,'69.120.114.47',1148251320,1,0,1,1,1,1,'wpqx','Re: Woody Allen\'s Match Point (2005)','The only Allen film I really disliked was September, one of his attempts at being Bergman, with a slight touch of Douglas Sirk, a horrible combination. I do love Allen\'s late 90\'s output, but he always works best on a run. Hopefully Match Point will set up a new run of great films. I\'m surprised I rated it as high as I did. The more I think about it though it is rather repetitive of Crimes and Misdemeanors.','90d454ece7a06b8f4aa068cb18ac653a',0,'','YU3nLir8',1,0,'',0,0,0),(11897,2148,3,1,0,'69.120.114.47',1148188800,1,0,1,1,1,1,'hengcs','Good Night and Good Luck (2005)','\r\nHmmm ... I am surprised we have never written a review on it ...\r\n\r\nAnyway, I have watched it in US last year.\r\n\r\nTwo comments\r\n\r\n-- wow ... the performance by David Strathairn was VERY gripping ... in fact, i have to give it to him because he still manages to captivate the audience despite a role without much range of expressions, i deem it a difficult feat (quite unlike Capote which has more \"dramatic\" scenes and actors can display their whole range of emotions and \"method acting\")\r\n\r\n-- the cinematogaphy is good ... and we could hardly tell real scenes from archival footages ...\r\n\r\ngo watch it','d47f7c91c9e7cb96c70c81fe44f9827d',0,'','cE5RTJCm',1,0,'',0,0,0),(11898,2148,3,1,0,'69.120.114.47',1148250600,1,0,1,1,1,1,'wpqx','Re: Good Night and Good Luck (2005)','Disagree with you there. The archival footage did stick out, and I got absolutely nothing out of Straitham\'s performance, I couldn\'t for the life of me figure out why he got all the praise he did and the Oscar nomination. Not to say the film was bad, just one of the most vastly overrated films from last year (along with Capote).','b04f3569b39ac4c228c8475caba85274',0,'','xiLW3TZ1',1,0,'',0,0,0),(11899,2149,3,1,0,'69.120.114.47',1148007600,1,0,1,1,1,1,'wpqx','Art School Confidential (2006) - Terry Zwigoff','Well Zwigoff is back after the rather astonishing success of Bad Santa with another comedy expertly suited to his style. Art School Confidential is much in the vein of Ghost World as a tale of misguided youth, but this time the lead is a male, and he\'s just as dorky as a Zwigoff hero could get. Max Minghella plays Jerome, an aspiring artist who is in it for all the wrong reasons. Rather than envisioning himself a rich and successful artist, Jerome envisions himself as a sort of rock star artist, who only wants the fame and acclaim if it can score him chicks. His art is seen early on as his way of trying to get close to girls, but of course he\'s terribly unsuccessful.\r\nHe goes off to art school in NYC where he expects to find some purpose and hopefully a much diferent crowd than he\'s used to (as he\'s still getting bullied senior year of high school). All his longings become embodied in Audrey (Sylvia Miles) an artist\'s daughter and model, who\'s picture is in the school\'s brouchure. As every artist needs that \"obscure object of desire\", she becomes Jerome\'s. In essence his inspiration, and now he doesn\'t want glory to get girls, he wants it to get this girl. He\'s convinced she\'ll be impressed with his skill and acclaim if only he can get it. Of course we know that this girl has been surrounded by artists all her life and most likely could care less about Jerome\'s artistic abilities. However the kid is good, and it certainly doesn\'t hurt him any.\r\nNo Zwigoff film can be complete without a cast of eccentrics however, and an art school setting is a perfect backdrop for any cliched hilarious stereotype he wants. There\'s the self important Tarantino wanna be film student, the \"gay\" fashion major, the overly emotional bohemian chick, the lifetime student, the ass kisser, ineffectual professor, and of course the perfect looking surprisingly talented rival. Playing with these stereotypes in one scene the entire cast is assigned labels as if to say college life is this cliched and everyone has a role.\r\nI wasn\'t quite sure what to make of Minghella\'s performance. He\'s still a relative newcomer to acting, and this is his first time carrying a film on his own (he previously appeared in Syriana and Bee Season). He does have the guise of someone who has to be nice because he doesn\'t have too much else going for him. We don\'t act surprised when we see him bullied, and we know when he talks to girls its going to be akward as hell, but Zwigoff has never been one to shy away from these uncomfortable moments. Minghella does however have a few good scenes, but primarily plays Jerome as a pathetic crybaby making the character seem a little one dimensional.\r\nThe rest of the cast is one dimensional, but it works in their favor. The only one with any depth is Jonah (Matt Keeslar), whose character begins as the quiet \"normal\" guy in class and slowly builds into a vital part of the narrative. Not to say Keeslar delivers a stellar performance, but his role is the most complicated, for obvious reasons if you actually see the movie. However I did enjoy the cast of relatively unknown actors and was a little upset that Jerome\'s early friend (who I can\'t for the life of me find a name for) wasn\'t in it more. The film seemed to lose a lot of steam when he was out, and unfortunately his return was brief and didn\'t help to pick things back up. \r\nThe film is flawed for its cliche\'s and although funny and entertaining this doesn\'t bear the same charm as other Zwigoff films.\r\n\r\nGrade B-','f297e90e85189c758b4d433dde1eedcd',0,'','CvX5m24j',1,0,'',0,0,0),(11900,2150,3,1,0,'69.120.114.47',1137840720,1,0,1,1,1,1,'wpqx','Frank Miller\'s Sin City (2005)','Let A voice his displeasure here, but this is my film of the year for 2005 and since I\'ve gotten a fresh look at it, courtesy of a well stocked special edition DVD, I felt it deserved a new home. Consider this the thread about the extended cut. The film is laid out differently, with the stories seperately told and not intercut. Some are extended, others you barely notice a change, but you realize that longer or shorter Sin City is the most imaginative film of the last year.\r\n\r\nNow the auteur critic in me is wondering exactly who\'s teh one responsible for this unique vision. Robert Rodriguez is something of a super auteur, directing, writing, shooting, editing, scoring, and probably catering as well. He shares a ridiculous amount of credits for this film, as he does with nearly all of his others, but taking a look at the Hard Goobye I realize that it might not be his vision we\'re seeing. The vision is Miller\'s. Marv\'s story is told almost shot for shot and word for word the same. It was simply multi-tasking Rodriguez\'s job to transport it onto the screen. Sin City seemed to sway from the typical comic book movie by not coddling to the younger superhero friendly crowd. Compared to Jessica Alba\'s other comic book movie Fantastic Four it\'s easy to see what market was being targeted. Rodriguez had a mission and a vision, and helped to make this film as faithful as it could be. Bless the man for having the foresight to get Miller to go along with him, something that may have helped Batman out considering everyone knows Frank Miller\'s Dark Knight is the best that DC has ever mustered.\r\n\r\nLest I digress. The film is a three act structure with a prologue and epilogue neatly fit in. The Customer is Always Right segment features Josh Hartnett as a ridiculously charismatic hitman, and helps to set the mood at the beginning. With this first scene, we see the mix of beautiful people, a rain soaked city, a noir atmosphere, accented color, and of course a little violence. Like Tarantino\'s blood soaked black and white segment from Kill Bill Vol. 1, you sometimes wonder if the choice of color helped keep the film in an R rating, somehow you also wonder if anyone would have cared if it didn\'t. Watching this story out of the film, it doesn\'t carry the same weight. The pay off of seeing the hitman and Becky in the elevator doesn\'t elicit the same ovation of witnessing the Big Fat Kill segment.\r\n\r\nLet\'s discuss that while we\'re at it, seeing how chronology is not of essence in watching the extended cut, so we\'ll jump into the middle. The Big Fat Kill is the least rewarding of the stories, because the motive isn\'t simple retribution. There is a modified tale of revenge, but it is hardly the type of corruption being destroyed Hard Goodbye, or the Knight in Shining armor grandeur of That Yellow Bastard. The story remains entertaining, and is probably the most ambitious. The Big Fat Kill is the story that probably could have best sufficed to make an entire movie. Let\'s face it, the other stories are simple and swift. This one is all over the place. We don\'t really get to see Shelly (Brittany Murphy) and Dwight (Clive Owen) have any sort of relationship. We see her wink at him in The Hard Goodbye, and by the time it\'s their story, they\'ve already slept together. Personally I would have enjoyed a quick sex scene like the one between Goldie (James King) and Marv (Mickey Rourke). But perhaps that\'s just because Brittany Murphy has never looked finer, and pardon me for wanting to see her naked.\r\n\r\nThe story isn\'t really hers though. We are led to believe it might. The damsel in distress, she is the beginning of the piece, and being the big movie star in the segment, it is likely to be her story. It isn\'t though, as Clive Owen effectively makes it his piece, or to a great extent his story. Owen hasn\'t been in many movies, but he has a way of being absolutely perfect for certain roles. He is resourceful and charismatic enough to pull this off, but he has that added degree of being just cool enough to make you believe that he\'s a real pro at whatever he does. There is an unspeakable charisma to the heroes here. Josh Hartnett the obvious hearthrob, but Bruce Willis is the perfect action star for this, and Mickey Rourke goes beyond makeup to give the most memorable perfomance of the year, and his entire career (which if you think back actually IS saying something). Owen fits right into this hero archetype that is being established in the world of Sin City. He\'s slightly crazy, as Marv certainly is, he\'s defending a lady, as Hartigan (Willis) and Marv were, and he\'s a remourseless assassin like Hartnett. These characters are all on a common thread.\r\n\r\nWhat makes The Big Fat Kill so different is that the women are not helpless victims. They are not in need of defense. In fact it is Dwight who leads them into trouble in the first place. Sure Wendy (King) may act tough, but she\'s too foolish to actually be able to fend for herself. The women here can and do. As we saw in Marv\'s story, he technically could take them, but well Marv\'s a little superhuman. The women of Old Town (all of which scantily clad prostitutes) are resourceful, violent, vengeful, and packing heat. The only one that doesn\'t seem to be handy with a gun is the rat in the bunch Becky (a beutifully blue eyed Alexis Bledel). She plays a bit on the damsel in distress role, and hence the reason she has no respect from her kind. She is a crutch that they have had to bear, and she is the weak link dragging them down. Again in a feature length version of this story, Becky\'s background, particularly with her mother could have been better illustrated, but well time is of the essence here.\r\n\r\nThis segment has the already famous Tarantino scene. A simple conversation between the dead Jackie Boy (Benecio Del Torro) and Dwight. It has a Tarantino stamp on it, but could possibly be done away with. The look however doesn\'t change, and it still fits in with the rest of the picture. Dwight also fits in with Marv by being slightly dellusional, again they\'re all connected. Miho (Devon Aoki) is the deadly assassin of the group, the most resourceful and comes off as a female Kevin (Elijah Wood). She\'s silent, deadly, and too quick to second guess. Unfortunately she\'s almost too quick, and it is her bloodshed that motivates the whole conflict.\r\n\r\nI will make no secrets about what my favorite segment of the film is, and that\'s the Hard Goodbye. This is what sets the film up, being the first of the three major stories, and I can\'t imagine anyone not being entertained by Marv. I remember in the theater I was the only person who cheered Mickey Rourke\'s name during the opening credits. I kind of laughed at the idea that he was in a big modern movie. I had no idea he would absolutely dominate this picture. Through him Marv is the most memorable character. The one legitamate super hero in the story. A slightly dellusional maniacle ape of a man that can\'t seem to be killed, and one that seems to enjoy pain, both inflicting it and feeling it. Look at him and you\'ll see the biggest smile on his face when he\'s covered in blood, regardless of who\'s it is. Miller himself thought Marv was the most interesting character in his Sin City world, and how can you blame him? By the end of his first fight with the cops you are completely on his side and you also realize that there probably isn\'t another actor alive better than Rourke for this role.\r\n\r\nHis tale is strictly revenge, but in a much more entertaining fashion, albeit less emotionally stirring than Hartigan\'s in That Yellow Bastard. Marv is the only one avenging someone\'s death, and by his math one Goldie is worth about 40 or Rourke\'s (Rutger Hauer) men. I just realized the slight irony in names there, but that\'s hardly intentional. Much praise goes to Rodriguez here because who on earth could have thought Elijah Wood could pull off a creepy, bad ass, villain? I still here people laugh as if I was crazy when describing his character. Also a bit of irony that the only nudity in the story is not in The Big Fat Kill (which features an entire cast of whores) but in Marv\'s, and the majority of it comes from his parole officer (who was cut from Hartigan\'s story). The extended cut features a scene of Marv at his mothers which lets us know that Marv actually is human, or at least one of his parents was a regular person. It also adds to the effect later in the film where Marv agrees to confess after they threaten to kill his blind mother. I do however believe that the scene is slightly slow, and sets off the general fast pace of Marv\'s tale. And what delicious revenge, he goes to town on Kevin and it is rewarding in a way you can\'t imagine. Miller has a sick mind for revenge, and it\'s part of the genius of Sin City.\r\n\r\nIn the theatrical release That Yellow Bastard had the biggest payoff. It\'s prologue begins right after the credits, but we have to sit through Marv and Dwight\'s tales until we get to the conclusion. This lets us see it early on, and we discover not too far after this opening scene who Nancy Callahan (Jessica Alba) is. Showing this early works to let us know that this has taken place earlier. We see Nancy as an 11 year old girl, but in Marv\'s tale she\'s the full grown Alba. There\'s a practical reason for That Yellow Bastard to begin when it does. Closing the film with it, gives more than a sense of having this be a senseless sensational blood bath. There is emotion and complexity to this tale. It involves political cover ups, a spoiled rich kid, pedophelia, age difference in a relationship, health problems, and the always entertaining how to get out of a noose routine. It also helps to test our memory, as Hartigan says he has to take out their weapons, both of them. It has a much greater effect at the end, and it is the one moment of the film that still made me wince.\r\n\r\nThere is more Sin City on the way. The sequel is in the works, and there are several characters from Miller\'s world that haven\'t had their moment on screen yet. I don\'t see it as a franchise, but if the format of copying the book to screen format continues, I see no reason why Sin City 2 won\'t be among the best films of this year (provided it gets released). Rodriguez made the best film of the year entirely on a green screen, yes all that great noir setting was computer generated. A great way to get a distinctive look. The film always seems like it\'s in it\'s own little world, and that\'s because it is. A twisted, @#%$ up world, but one that\'s damn entertaining to visit.','e8f4f3239217340a6e22abac0b40a57c',0,'','xzmqQLAF',1,0,'',0,0,0),