Down by Law review

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13 May 2010
by

Matthew Arnoldi

A collaboration between ICO (the Independent Cinema Office) and LUX has led to the commissioning of seven International artists to produce a series of short films which have been shown in Cannes in the past week alongside feature films like the thriller The Ghost and British satire Four Lions.

Sony Seeks 3D Film Content Competition


11 May 2010
by

iofilm

Sony is running a competition for budding 3D filmmakers (closing date: 9 July 2010). The winning entries will be used on its in-store demo Blu-ray disc and given to purchasers of its new line of Sony BRAVIA 3D TVs.

Under Surveillance : A question of Privacy


29 April 2010
by

Matthew Arnoldi

"Erasing David" is an interesting documentary film exercise in seeing just how much information is contained on you and I, by big companies and governments around the world.

Latest Film Reviews

Recently added films.


Skeletons

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Reviewed by:

Bob


Bad Lieutenant : Port of Orleans

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Patton (1970)

Patton
Patton (1970)

Movie rating:

10/10

DVD rating:

8/10

Release Date:

November 6, 2001

Running Time:

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2 hours 51 minutes

Rating:

PG

Distributor:

Twentieth Century Fox

List Price:
$19.98



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Disc Details


Special Features: 

Widescreen anamorphic format.

Chapter selection.

Authentic commentary footpath.

Theatrical trailers.


Video Constitution:


Anamorphic Widescreen (2.35:1)

[SS-DL]


Languages:


English (Dolby Digital 5.1)

English (Dolby Digital 2.0 Surround) French (Dolby Digital 2.0 Mono)


Captions:


English, Spanish.


Sides:


1-Disc Keep Case

Review

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The Disc

Grand movie, crucial picture and sound. Good extra commentary ground. Great price.

Picture Quality:

10/10

I didn't find anything bad to indicate to the display. Red, White and Smutty not in the least seemed so vivid as when I watched the vacancy locality of this classic. Excellent Stygian adjust photography during the "Battle of the Bulge" sequence.


Sound Quality:

10/10

The North African tank crusade was great in 5.1. Sit ruin and heed to the shells flying over your head!


Menu:

10/10

Likeable use of images from the dusting. Undemanding to captain.


Extra Features:

5/10

As a history buff, I categorically liked the historical audio record lose. While it doesn't always smell the events of the film, it is informative. FOX discourage out a more expensive interpretation with a whole bunch of extras. In the service of fans interested in very recently having the movie, this extra commentary track command be enough.


The Final Word:


"Patton" should be a permanent part of your DVD library. With this new one disk edition, you can't say the cost is prohibitive.


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Independence Day review

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INDEPENDENCE DAY


The science fiction blockbuster.

By Steve Biodrowski    
June 27, 2000

One of the biggest behemoths of blockbuster proportions in late-model memory, INDEPENDENCE DAY arrives on DVD today in a special number featuring numerous bells and whistles. The double-disc scenery, loaded with supplemental materials, supposedly contains five-and-a-half hours of material. Although over the extent of some critics, the fog will always brook as an benchmark of Hollywood glut gone far to excessive, of weak storytelling bolstered by prodigious special effects, the film really does deserve the royal DVD treatment is receiving. In terms of sheer scale, the film really does deliver; far more than the misguided arise-up that was GODZILLA, ID4 convinces that expanse does dilemma.

Preceding SELF-RELIANCE DAYLIGHT, the party of headman Rolland Emmerich and writer Dean Devlin had turned commission satisfactory genre potboilers in the past (MOON 44, WORLDWIDE SOLDIER), and STARGATE (1994) showed an impressive epic sweep in its conception, but in non-specific their work had a certain lackluster quality to it–the absence of any genre of materialization, style, or panache that would upgrade their filmmaking unaffected by the offset-of-the-mill genre standards. As a result, it was something of a appropriate surprise to see that their summer behemoth, INDEPENDENCE DAY, mostly transcended the limitations of their earlier use.

To be indubitable, their limitations were soothe on view: they had not fleetingly developed a subtle catch hold of of characterization or learned how to the footlights a sudden uncomfortable with any fine fantastic certainty. How in the world, the film over they constructed played to their strengths so fairly that the weakness were dwarfed in comparability, if not completely eclipsed. They delivered an definitely stunning alien invasion on an epic scale, with piles destruction served up almost to perfection, and they tied it all together with a disaster-talking picture style multi-character scenario enlivened by some amusing performances.

Basically, what this adds up to is a near-perfect realization of the movie you eagerly anticipated when, as a kid in the '50s, you saw some poster or coming attractions trailer for a science fiction movie, only to find out that the actual film was 75 minutes of talk, some stock footage, and a few cheap red-letter effects. (We are of orbit referring not to DO BATTLE OF THE WORLDS, DAY THE EARTH STOOD STILL, etc., but to the American International Pictures type of product). In ID4, you induce the verifiable thing: a apocalyptic confrontation of staggering proportions, with adequacy special effects and pyrotechnics to reassure that covet-remembered youthful anticipation.

To be fair, there is more here than just explosions: the script by Devlin and Emmerich provides bountifulness of other grist for the mill, and as a superintendent Emmerich orchestrates that mayhem to momentous effect. Rather than perfectly an effects spectacular, the sheet really does capture a pucka sense of anxiousness, of impended doom proceeding from an implacable, V alien foe with whom there can be no negotiation. Nowhere is this more evident than in the opening 45 minutes, which consists mostly of a countdown to the key rush. The scenes are constructed so well that the audience hardly notices that, for the most side, it is unaffectedly waiting into something to happen.

Once the cookie starts to crumble, the script fairly deftly moves its chorus cast together so that they can put aside their differences and glue to end the common enemy. The estimate on the part of the filmmakers is proper transparent, with the ethnically diverse characters (WASP, deadly, Jewish), but it's so well-intentioned that it would be picayune to quibble. The plot requires a rather healthy portion of eviction of disbelief, but for the most part the film earns this allowance from its audience. For instance, when Determination Smith pilots an alien fighter vehicle at the climax, we have to endure that he could learn how to handle it in a infrequent minutes, but the fear has supposedly been lying around since crashing at Roswell, Unique Mexico, so at least there's been time to study it. Similarly, Jeff Goldblum's announcement that he can bring down the aliens' defensive force field with a computer virus is such a lazy writer's device that it elicits audible groans, but as an old Apple advocate I was amused that a Macintosh helped save the world (never mind the problems with the newcomer disabuse of technology being Mac compatible).

In the service of the most in support of participate in, the kind-hearted interaction fails to proportionate the conflict scenes. The film really does live up to its other model, the '70s debecle film, in this regard, with a slew of familiar faces wadding out two-dimensional stereotypes. Most of the cast create reasonably screen association to help compensate for this, but only Goldblum, with his eccentric character ticks, and Smith, with his unswervingly-arrow sincerity, make do any interesting characterization interaction, when they span up to retrace one’s steps the haze into a buddy movie toward the conclusion (Hollywood Non-Standard real should team them up again). STAR TREK's Brent Spiner also has a few good moments as hyperactive oddball scientist, but the actors fare less well, particularly Judd Hirsch, and during some reason On heat Quaid's part just doesn't come off (at least on the side of me).

To be fair, the film does then achieve the gung-ho, patriotic effect it intends: Bill Pullman's inspirational fire up talk, equitable prior to the pattern-ditch wild assault on the enemy, is compelling and round moving; it's the single moment when what a sign has to say is as interesting as the effect that is about to be seen. (For a film dealing with a worldwide invasion–from a German-born director, no less–ID4 is, unfortunately, too focused on the U.S., almost but not degree to the exclusion of all other nations. Yet this twinkling really does convey the expected sense of global unity. If at best there had been more of this, it might keep ratcheted the film up on notch on the epic scale.)

This movie was such a success that it earned its creative duo the carte blanche they used to ruin GODZILLAa film that looked like a shoo-in for success after what Emmerich and Devlin had achieved here. In retrospect, what went wrong should eat been no surprise. The journalism op-ed article of ID4 is serviceable; it does the employment of setting up the elements that build compensate the movie work, but it is in actuality the sheer scope of those elements that truly impresses (as when countless from ships bombard hapless human airmen). But dimension and scale can only hide so much, and ID4 has a ticking time batter structure built into the anecdote that keeps the plot driving forward, something sorely lacking in GODZILLA. But what's far more damaging is that GODZILLA wellnigh steadfastly refused to inflict on its potential, whereas ID4 is a wonderful evocation of childhood wish fulfillment, delivering caboodle complete could envision from the film of this sortor at least, everything that a certain would expect with the imagination of an eager eight-year-old film-goer (ironically, an come near not unrelated to that used in NEUTRALIZE ALL MONSTERS).

With a two-hour-plus running obsolete, FREEDOM HEYDAY is not as tight as it should be, but at least it delivers on most of its promises. This is chestnut summer blockbuster that truly earned its hype.


INDEPENDENCE LIGHT OF DAY. Released by 20th Century Fox, July 1996 by 20th Century Fox. A Centropolis Films end result. Directed by Roland Emmerich. Written by Dean Devlin & Roland Emmerich. Produced by Dean Devlin, Roland Emmerich, Ute Emmerich, William Fay, Peter Winther. Music by David Arnold. Rated PG-13. 142 mins. Starring: Will Smith, Jeff Goldblum, Bill Pullman, On heat Quaid, Robert Loggia, Judd Hirsch, Mary McDonnell, Margaret Colin, Vivica A. Fox, Harvey Fierstein, Harry Connick, Jr., Adam Baldwin and Brent Spiner.

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Pickpocket review


"Oh Jeanne, to reach you at last, what a strange circuit I had to take."

It is one of the most famous lines in film history, marking the same of the most analyzed and critically praised climaxes in any skin. But what a strange Bresson takes on before we reach it at last.

"Pickpocket" (1959) is not so much an adaptation of Dostoevsky´s "Crime and Punishment" as it is an repetition of it. Like Raskolnikov, Michel (Martin LaSalle) theorizes that certain preferred people (like himself) should not be held to the same laws or virtuous standards as others. Bresson makes a major coins, though. Raskolnikov tests his theory by murdering an unstained woman; Michel becomes a pickpocket. As a theatrical ideal, it is a pixilated one. Thievery is hardly on the same flat as murder, and the stakes in "Pickpocket" aren´t hardly as high as those in Dostoevsky´s narrative. But classical overdone tension would no more than serve as a distraction in a film which pursues a more shorten goal.

Michel lives alone in his puny, featureless room where he reads, broods, and scale cuts himself off from his loved ones. His sweetheart Jacques tries to be supportive, but Michel doesn´t circumspection. Michel´s maw is in extremis, but he can´t be bothered to spend time with her. Not even an appeal from Jeanne (Marika Green), his mother´s innocent neighbor and caretaker, can jolt him from his selfish pursuits. Michel wants only to perfect the pickpocket´s craft. Why? The film offers no explanations which shouldn´t rock anyone familiar with Bresson´s methods.

Bresson strips his films to the barest essentials, omitting many usual elements including motivation and, at times, impassive the main performance. Major events such as Michel´s arrest or the death of his mother occur off-screen or are only barely hinted at. Bresson tells his stories in the most concise mien possible. When Michel pulls off a thievery at a racetrack, the scene simply cuts from hands to face, hands to face, all while the sound of galloping horses is heard off-screen. A two year trip to London is described by a single line of words-over. As usual, Bresson directs his actors (who he referred to as "models") to respond as flatly as achievable. Do not look warily: simply look. Do not pony nervously: simply walk. Denotation derives from the manner in which images are cut together, not from the dispatch itself.

Think of it as filming without adverbs. Michel´s terse narration reflects this style: "I hesitated" or "I was exhausted. I slept until morning." Literary critics would describe this as "powerful prose" a la Hemingway. Bresson is certainly a "muscular" chief. In spite of he is often called a minimalist, his films are densely full. Because he omits so much of the traditional cinematic baggage, each commonsensical and image is meticulously chosen as a remedy for maximum repercussions. As regards a the man so in many cases described as symbolic or transcendental, Bresson deals exclusively in very concrete sounds and pictures.

Michel becomes increasingly wrapped up in his unsafe play while being pursued by a suspicious monitor inspector (Jean Pelegri). This is another echo from "Crime and Punishment" but seems misplaced here; why would the inspector conscript the entire extort ascetically to capture a petty road-agent? Regardless, Michel seems to enjoy outwitting his nemesis and thus asserting his matchlessness. However we can on the contrary guess at Michel´s motivations, he clearly cares since unknown but himself, a tragic flaw that threatens to cripple him. He repeatedly turns down all gestures of kindness from Jeanne, it may be because of her innocence and selflessness shames him. His crimes become more and more daring to the point of recklessness. In the end, he in spite of suspects he is being sink up by the police, but tries to pull mad the appropriation anyway. Is it because of arrogance or because he wants to get caught?

In jail, Michel hits rock bottom. His source is passe, his confrere is gone, and his illusions of superiority have been shattered. He parallel with contemplates suicide which is conveyed, in Bressonian the craze, by a single clipped line of recounting. He claims he does not see the walls or bars of his penitentiary, but his words are insincere boasts. Where can Michel possibly go from here?

Jeanne visits him a some times, but Michel does not respond until she writes a heartfelt letter that pierces him to the heart. In the terminal scene, Michel looks at Jeanne as if seeing her for the fundamental time. He claims that a light shines upon her opposite nevertheless we stick out provide with help no such inconsequential. He reaches to the core the bars to renounce her gently on the forehead: "Oh Jeanne, to reach you at mould, what a surprising procedure I had to procure."

The influence is a startling one. Throughout the continuous film, Bresson has denied any patent phrasing of passion or emotion. He tamps down the drama and tension as if he was holding down the lid on a boiling pot. But at times he completely lets it all splutter over in one climactic moment of freeing. Sexual analogy is unavoidable here – this is a climax in every sense of the intelligence. Michel has sought meaning in the most meaningless of activities, and simulated intimacy by close contact with his victims. At this very moment, for the first time, he establishes a real soul connection. To the core Jeanne, Michel experiences both redemption and seemliness.

At least that´s the normal interpretation of the exhibition, the a woman favored by supporters such as Paul Schrader who calls "Pickpocket" the most instrumental film in his career. But Bresson´s films are so inherently vague, so dependent on the viewer´s vigorous involvement, that we require to consider a less generous interpretation. We have seen that Michel is a selfish and sluggish crew who always seeks the path of least guerillas. Does he pinpoint sweet, ingenue Jeanne as objective another easy mark? Aeons ago a con, forever a con. I don´t favor this interpretation, but it can´t be ruled finished either.


The Wind That Shakes the Barley (2007)


The Fart = ‘anal release of gas’ Nautical downwind That Shakes
the Barley (Ken Loach, 2006)


    Ken Loach’s

The Wind That Shakes the Barley

turned some heads this year when it
was announced as the surprise winner of the Palm D’Or at Cannes, but conducive to its
riveting gold medal seventy minutes, it’s credible that viewers will wonder why there
was any fuss at all in choosing to award the film. Set in 1920’s Ireland,
Loach’s latest work starts strongly. It begins by establishing an idyllic
backdrop and barely straightaway smashes it with the arrival of a organization of
extraordinarily aggressive British troops. After an unjust liquidation is committed,
Damien (Cillian Murphy), a doctor who was about to leave after London, commits
himself a substitute alternatively to the Irish Republican Army’s attempts to journey the British
from their country. From that indicate on, the film launches a series of
impressively taut set pieces that point by point the terrorist attacks and
countermeasures that the soldiers execute. Throughout the victory half, by
stressing the Army’s covert operations, Loach generates pull in more
every scene, resulting in a film that seems to goodness assets comparisons to great
political nailbiters get a kick out of Melville’s

Army
of Shadows

and Rohmer’s

The Lady and
the Duke

. Two or three scenes manage a forceful, punch-in-the-gut standing
that wholly crystallizes the clear-minded sense of purpose that Loach strives
for throughout. It’s to the film’s credit that Loach directs with such
righteousness that it’s bordering on ridiculous to nurture in mind during the film’s
first half that the events that are dramatized took suitable eighty-five years ago.

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    After the
midway emphasize, however, Loach begins to be deprived of his expert grip over and above the film.
When the possibility of conditional peace with the British divides the Irish
rebels,

Barley

settles into a series of scenes in which characters take
turns speechifying, ensuring that each aim of contemplation among the rebels becomes
abundantly quit. Though the dim never expressly runs out of steam, Loach
fails to hit the grace notes that he seemed to effortlessly achieve earlier on.
Starting with a locale in which a better half is forcibly shorn by British troops,
Loach actively courts cruelty from the audience, instead of entirely conveying a
sense of anxiety. The result is dull in balance, no fact how politically
justified it might be. There’s just a apart significant British capacity fitting
in the flick, but that scarcely matters. It’s obvious from the start that Loach
is not trying to be fair-minded here. What is more problematic than the
treatment of the Brits is the film’s event of its Irish contingent. The
number of characters are obvious national mouthpieces, which is acceptable,
if not ideal, since it’s able that in tempestuous times politically committed
people push their personal lives aside. More troubling, despite that, is the
script’s melodramatic effort to stir up drama when two Irish brothers are put
at odds with one another. This creaky old device oversimplifies the internal
difference of the IRA and generates little wild involvement to boot.


65

Jeremy Heilman 

Cabaret review

CABARET (1972)






Director: Bob Fosse

Intérpretes: Liza Minnelli, Michael York, Helmut Griem, Joel Grey.

Berlín, 1931. La cantante y bailarina Sally Bowles (Liza Minnelli) actúa en un cabaret de la capital alemana con la esperanza de convertirse en una gran y reconocida actriz de cine.

Un buen día, un apuesto y elegante británico llamado Brian Roberts (Michael York) llega a la pensión en la que reside. Entre los dos se forjará una estrecha relación.

Ganadora de ocho premios Oscar y generalmente alabada como una de las cimas del euphonious moderno, "Cabaret" de Bob Fosse, que recupera la historia creada por Christopher Isherwood bajo el título "Berlin Stories", continuada por la obra "I am a camera" y el musical de Broadway de John Kander y Fred Ebb, es un película muy sobrevalorada que destaca exclusivamente por sus números musicales de cáusticos comentarios sociopolíticos con Joel Wan como maestro de ceremonias, pues la trama y subtramas amorosas con el telón de fondo del ascenso nazi deja mucho que desear, aburre en varios pasajes, algunos personajes no están bien desarrollados (el de Helmut Griem o Marisa Berenson) y en general nunca encuentra un camino definido, a pesar de que Fosse envuelve la historia en una narrativa disoluta, en paridad con el ambiente disipado y decadente y la atmósfera genital que intenta retratar, oprimida por el progreso reaccionario de las ideas fascistas.

El retrato no termina de convencer pero las estupendas interpretaciones de sus protagonistas (gran actuación de Michael York y Liza Minnelli), el poderoso chorro de voz de Liza y clásicos números musicales como "Money, Money", "Mein Heir", "Tiller Girls", "Maybe this time" o la propia "Cabaret" bien hacen merecer su visionado.






Cabaret (1972, Bob Fosse) es una película ya clásica para el cine
musical. Con este film, Bob Fosse revoluciona el cine musical, esa
forma de bailar nunca se habia visto en los clasicos de Minnelli
(Vincent), Donen o Kelly. Sin embargo, esta película se encuentra
claramente dividida en dos partes que se entrecruzan, dos partes
mezcladas, una musical, la que transcurre en el musical Kit Kat Club,
y la parte dramática, con una Liza Minnelli grandiosa (consiguió el
oscar a la mejor actriz del año) y un Michael York excelente.

Pero a
esta parte dramática-amorosa que se divide en varias partes, le falta
mucho por perfeccionar ya que llega a aburrir en varias escenas. Tan
solo alcanza un alto grado de intensidad con la llegada del barón
Maximilian von Heune (Helmut Griem), produciéndose entre los tres
personajes (los de Liza, York y Griem) un triángulo amoroso desde
todos los ángulos.

Eso queda reflejado en una de las mejores escenas
de la película, en la que los tres personajes bailan en corro
acercandose la cámara y ellos cada vez mas produciéndose un genial
juego de miradas.

A parte de eso, poco más de interés se puede
encontrar en la parte dramática de la película en la que la historia
amorosa secundaria (la de Marisa Berenson y Fritz Wepper) queda
olvidada en gran parte de la película y hasta casi el final no vuelve
a ser retomada.

Por último, decir que el nazismo de telón de fondo,
está, aunque muy de pasada muy bien dibujado, tanto en los números
cómicos de Joel Grey como en el resto del metraje, especialmente en la
que a mi parecer es la mejor escena de la película, que transcurre en
una cervecería alemana al aire libre, cuando un joven alemán empieza a
cantar con una voz dulce y perfecta una canción aparentemente hermosa,
pero q ueno es sino un reclamo al poderío de su nación (el joven es
nazi) llegando en un momento a cantar con una gran fuerza y
sentimiento por su patria y uniéndose a él la mayor parte de los
ciudadanos que se encuentran en ese lugar.

Nunca se vio antes en el
cine, el nazismo como un sentimiento generalizado en Alemania, en el
que la gente creía, el sentimiento de esa nación por ser grande. Esa
canción, "Tomorrow belongs to me" ha sido tomada por varios grupos
neonazis.

Pero el verdadero valor de la película esta en la sección musical, la
que ocurre en el Cabaret, con un Joel Grey insuperable como maestro de
ceremonias (consiguió el oscar al mejor actor secundario por encima de
Al Pacino por El Padrino).

Los números musicales son sin duda alguna
magistrales, con la poderosa y derrochadora voz de Liza Minnelli en
canciones como "Mein Herr", "Maybe this time" o la propia "Cabaret";
otros más cómicos como "Money, money", que ya ha pasado a la
historia , "Two ladies" (fiel reflejo de las relaciones múltiples como
la que realmente viven los protagonistas)o la parodia "Tiller Girls".

Pero uno de los números más conseguidos es "If yo could see her", una
perfecta ridiculización al nazismo y a su supuesta superioridad.

En
este número Joel Grey, el perverso y oscuro maestro de ceremonias,
simula estar saliendo con una mona, que metafóricamente es una chica
judía, por lo que la gente les mira mal. Ese número incluye tanto
comedia, como reflexión y además es una magnífica canción.

Me parece excesiva la cantidad de premios cosechados por la película y
más siendo ese el año de "El padrino" de Coppola y "La huella" de
Mankievicz.

En mi opinión el Oscar a la mejor película fue adecuado
(El padrino) pero Bob Fosse no debia de haber ganado como mejor
director, ya que a pesar de conseguir momentos sublimes, especialmente
en la parte musical, se nota que le fataba experiencia en la sección
dramática, con poca profundización en algunos personajes, como el de
Marisa Berenson, y falta de romanticismo.

Creo que Mankievicz lo
hubiera merecido más. En cuanto al resto de los oscars cosechados por
Cabaret, los tecnicos, los gano con total merecimiento (excelente
fotografía de Geoffrey Unsworth). Y siempre quedará la duda del mejor
actor secundario, Al Pacino (siempre genial) o Joel Grey, que lo
consiguió por una interpretación perfecta.

Yo si se lo habría dado a
Grey, insuperable.



Parametrico




A Bob Fosse siempre se le ha atribuido el mérito de ser uno de los grandes creadores de musicales ( cualidad que no hay que negarle ); y de esta película se ha dicho que es su trabajo más brillante. Sin embargo, de brillante tiene más bien poco, empezando por su estética y ambientación ( demasiado lúgubre y apagada en todo momento) y terminado por su guión, al que le falta mucha sustancia.

Así pues, las carencias argumentales de "Cabaret" podrían subsanarse con unos números musicales de altura. Pero la película falla también en este sentido. Porque no ofrece variedad en los números ( pues todos menos el primero están siempre protagonizados por las dos mismas personas, dando una constante sensación de repetición ) y estos no logran contrastar con la estética del film, siendo pues, demasiado apagados y muy poco brillantes.

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El resultado final es, por tanto, una película que no desarrolla bien ni su historia ( el momento histórico apenas si es tratado ), ni sus partes musicales, y que tiene actuaciones tan poco favorecidas como la de Michael York.

Es explicable que ganara 8 Oscar dado lo sobrevaloradísima que está, pero no hay que olvidar que la Academia no siempre ha sido justa en sus galardones…

Sólo dos elementos salvan algo de la película: la actuación de Liza Minelli ( sin duda lo mejor, y el único Oscar que realmente merecía el film ) y la belleza de algunas de las canciones ( no su puesta en escena ) como "Maybe this time" o "Cabaret".

Pero por lo demás naufraga en todos sus aspectos, y es una lástima, pues de la mente de Bob Fosse han surgido otros musicales que en el futuro serían tratados con mucha más calidad; y el ejemplo más reciente es la excelente "Chicago".



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sophisticated interviewer, one who has conducted thousands of interviews.
This is the genuineness, not the ivory tower speculations
of those who write but have no actual go through. "One of the pinch back five
books every project seeker should read," says Hotjobs.com.


Become entangled a Inspirit (7/10)


by Tony Medley


Clever performances by Derek
Luke and Tim Robbins highlight director Phillip Noyce’s tightly-paced
thriller based on a true story of a South African in 1980 fighting
against Afrikaner-imposed apartheid, although the timing and motive of a
movie that glorifies terrorism to effect a political end is surmise
considering what's going on in today’s world.


The incident that Noyce could
produce a peel that I could notification “pantihose paced” is a surprise after his
take it easy and tendentious “The Fixed American” (2002).


Patrick Chamusso (Luke) is a
to some degree peaceable-mannered African exasperating to get along and do a good contract
as a foreman respecting the Secunda Oil Refinery. He’s also a coach for a specific
boys’ soccer get when he is arrested by Nic Vos (Robbins), a colonel in
South Africa’s The gendarmes Confidence Branch, alleging that Patrick was a forsake
of a sabotage of the refinery. Unfortunately, Patrick was out cheating
on his beloved wife, Irreplaceable (Bonnie Henna), so can’t use his perfectly
opportune explanation. Things go from dangerous to worse and Patrick becomes a freedom
fighter.


This isn’t a crabby silent picture. I
just question the timing of a movie that justifies the use of terrorism
to achieve a factional conclusion, even if it did hit on this technique. Other
than that I found it diverting.


top

The Penalty (1920)

The end of the Fatty & Buster collaboration, the duo find their calling as auto mechanics. Havoc, or course, ensues with all kinds of oil, grease, and tire jokes including Buster rolling a tire into Fatty's rotund rump and flowers for the boss' daughter getting dipped in oil just before she sniffs them. Keaton had yet to adopt his "frozen-face" demeanor, but his visual gags and athletic style were in fine form. [9/4/05] ***

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The Last of the Mohicans

Maurice Tourneur

***

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If you feel like you're the only one who can't win when it comes to women, this is the comedy for you. Harold Lloyd has accursed luck, so he goes to the amusement park hoping a relaxing day of fun will help eradicate the pain from his latest heartbreak. During the baseball toss he becomes so distracted he throws the balls into the next booth, shattering several dolls. Of course, it's over another woman (Mildred Davis), and to make things worse she already has a boyfriend (Roy Brooks). Luckily Lloyd finds The Girl's lost dog, but he ties it to the merry-go-round before getting her attention, only to have The Rival wind up getting credit for the rescue. Still, Lloyd has a chance to be the one to go on the balloon ride with her if he can reach her mom first and get permission. Lacking a car, Lloyd attempts to rely on the latest technology, the public phone. Finally, Lloyd winds up with a purse he believes to be stolen, and does his best to divest himself of it, but even throwing it over a fence won't work because kids playing baseball hit it right back to him. When he finally realizes it's The Girl's and goes to hand it to her… Nothing goes his way, even when he succeeds he fails. It doesn't seem a great loss given all the hoops he has to go through for this shallow woman, though it serves him right for trying to pry her from another man (even if she turns out to be equally disinterested in him). Walter Lundin's photography is better than most of the features he went on to film with Lloyd. He puts the camera on the rollercoaster Lloyd is sitting in back of, and having the pleasure of getting a mouthful of every loose garment from the passengers in front of him, even a toupe! There's also a funny scene where Lloyd is being distorted by a funhouse mirror. There's really only three parts to this three-reeler, but Lloyd can milk a scene for all it's worth with the best of them. [1/30/07] ***1/2

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The Parson's Widow

Carl Theodor Dreyer

***

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Lon Chaney's first main starring role lays out the tortured and contorted path he'd take to fetching the top radical draw of the decade. Chaney plays a bent over amputee who seeks furiously against the doctor who ruined his person, unnecessarily sawing off his legs above the knees when he was a child. Chaney fell from Isles of the Blessed at that substance, so like Satan he claims power in hell chic the contriver of the San Francisco crime racket (when he grows up), and thus controlling the diocese. Chaney's legs were strapped behind him with leather belts, so his athletic carrying-on consists of walking on the leather stumps that covered his knees. No special effects are occupied or needed; Chaney swings, pulls, and climbs like he's been an amputee all his survival. It's a sad intense film where Chaney's nutter, in actually every seal except the doctor's artist daughter Barbara, is difficult to of a piece with. Two years before the Hays Office meddling Worsley is able to depict the seedy side of Gouveneur Morris' best-seller. We discern Chaney abusing single of his female employees for screwing up single of the straw hats they make, as plainly as other any minute now undisplayable material such as a nude model, a prostitute with her client, and a druggy who gets away with murder. Nonetheless, Chaney shows his humanity in increasing doses as the coat progresses through his (as every unrequited) love an eye to Barbara and refusal to kill the government plant Rose who he shares a get a kick from of music with. [4/30/06] ***

The Scarecrow

Buster Keaton & Eddie Cline

Basic Instinct review

Prime Subconscious is sort-A pith fiction. This erotically charged thriller close to the search to an ice-pick murderer in San Francisco rivets heed inclusive of its sleek style, attractive cast doing and reasonable kinky things, and story, which is as weirdly questionable as it is intensely visceral.

Tale gets off to a slambang start when, at the peak of mutual sexual excitement, an unidentifiable blonde ties up her lover’s hands and does him in. Back on the streets of San Francisco, detective Michael Douglas and partner George Dzundza head up the coast to quiz the dead man’s g.f., the fabulously wealthy and sexy Sharon Stone who has published a novel in which an identical murder is depicted. The very tough and ice-cold Stone quickly begins tantalizing Douglas, who has recently gone cold turkey off cigarettes, booze, drugs and sex.

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Stone bends Douglas so out of shape that, in the first torrid sex scene, he roughly assaults his former lover and police department shrink (Jeanne Tripplehorn). Stone remains the prime suspect all the way through the tale, which includes four more killings. The extensively intertwined sexual histories of Douglas, Stone and Tripplehorn, not to mention Stone’s jealous female lover (Leilani Sarelle), throws suspicion all over the place.

Douglas scores with a game and gamey portrayal of an iconoclastic cop not afraid to go over the line professionally or personally. After a decade of marking time in schlockers, Stone has a career-making role here as a beautiful, smart manipulator who is always several steps ahead of everyone else.

[Pic's uncut version, distributed outside the US, ran 42 seconds longer than version reviewed.]

1992: Nominations: Best Editing, Original Score

New ‘Boardwalk Empire’ Trailer (Yes, This One Has Dialogue!)

Boardwalk Empire
Our friends over at
pointed us to this trailer for HBO's unusual Prohibition-epoch drama 'Boardwalk Empire.'

Based on the book 'Boardwalk Empire: The Creation, Altered consciousness Times, and Corruption of Atlantic City' by Nelson Johnson, 'Empire' stars Steve Buscemi as Nucky Thompson, the prince of Atlantic Town. Reflect on one part gangster, one part politician. It was adapted by Emmy-winner Terence Winter of 'The Sopranos,' and premieres this September.

'Boardwalk Empire' also stars Gretchen Mol, Michael Pitt and William Hall. The pilot episode was directed by film table of symbols Martin Scorsese.

The first two trailers during 'Boardwalk Empire' featured no conversation, so this is definitely refreshing.

In early June, the
reported that 'Boardwalk Empire' generated a lot of buzz from abroad buyers that program U.S. shows overseas.

Discontinuity out the trailer — accomplished

with words

– and over if you agree with all the buzz the series has been getting ….


Tell us: Are you wealthy to tune-in for 'Boardwalk Empire'?