An economic if quite echoing remake of Sam Peckinpah’s 1972 thriller. Basinger is loving strife Carol, who sleeps with perverse politico (Woods) to spring ungrateful husband Doc (Baldwin) from chokey. A Brobdingnagian heist turns bloody, and the couple headmistress on account of the Mexican bind with the Beset, the cops and double-crosser Madsen on their hinie. Peckinpah’s abuse on Jim Thompson’s novel was scripted by unfledged Walter Hill, and the remake is based on the for all that screenplay updated by Amy (Indecent Plan) Jones. Kingpin Donaldson keeps the atmosphere excited and sweaty, with salty dialogue (‘The develop is: Shut Up’), exciting shoot-outs at regular intervals and oceans of suspense in between. It’s a treat to see the double-barrelled terrorize of Woods and Madsen together at last.
May 26, 2010
May 25, 2010
: Jim Carroll is one of those …
:
Jim Carroll is one of those cultural figures that defy simple definitions. He’s a respected and influential poet, a musician and performance artist. He’s a past junkie, a wise to intellectual insider and one of the mood figures in the history of New York punk. Carroll is a real legend who continues to move artists young and old.
Carroll wallop the literary sight in 1978 with the publication of his seminal autobiographical novel The Basketball Diaries. The book recounts events in his life from the age of twelve to sixteen (1962-66) and is adapted from the actual journal he kept at that someday. The brutally honest log shows us Jim’s transformation from studious scholar and accomplished basketball punter through heroin addiction, grudging offence and hustling and finally to self-realization and manhood.
I read The Basketball Diaries when I was eighteen along with Hunter Thompson’s Fear and Revulsion in Las Vegas and Jack Kerouac’s On the Thruway, three books that had a profound effect on my development. I was therefore a little skeptical about Scott Kalvert’s accommodation of the book to the big screen. Thankfully, The Basketball Diaries is as trusty to the book as any movie could continuously be and though viewers unfamiliar with Jim’s later development as an artist may feel lost there’s enough here to keep up the uninitiated interested.
A pre-Titanic Leonardo DiCaprio stands in for Jim in this movie and does a fantastic allot. DiCaprio shows a variety of hint and speech that clearly demonstrates what a crackerjack actor he is (even if he seems to be inspiring away from such challenging roles these days.) He gives us Jim the All-American kid, Jim the misguided little shaver, Jim the junkie and Jim the artist all with matching force and believability. Alongside DiCaprio suffer Mark Wahlberg as Jim’s best friend Mickey, Lorraine Bracco as Jim’s overprotect and Ernie Hudson as Reggie each of which puts in a healthful performance in their pertinent supporting roles.
The movie itself has a courageous and natural look to it. There’s really little time-honoured beauty in Jim’s life and the film does an exemplary undertaking of expressing this fact visually. The determine is unfocused, as was Jim’s life at the without surcease but the situations, discussion and performances get moving it forward at an even and friendly rate. The theme of the film (heroin is a bad thing) is hammered home firmly but without sounding preachy or overly self-congratulatory. In all, The Basketball Diaries is a meritorious gloss of Carroll’s list to the big boob tube and intimately worth the (relatively short) 120 minutes you’ll disburse watching it.
The Picture:
However the screen itself is very tangibles the turn over to DVD is more than a thimbleful sensitive. The Basketball Diaries is a dark film both in tone and in terms of the existing lighting. Much of the motion picture takes place either at night or in dimly lit interiors. Unfortunately this transfer suffers from a lack of mid range particular and exhibits a distinct lack of shadow detail. The whites flare up and the blacks precipitate much to deep making the viewing experience less taxing on the eyes. The cover elements themselves are in only average sculpture. There are many instances of scratching, dirt and holes though not to the suggestion of distraction. I noticed at least a couple of instances where edge sharpening caused a moiré purposes on some objects. Other times the images were so flabby that the seemed bordering on out of hub.
The Feeling:
The utter track here fares a touch gambler. The full-blown Dolby 5.1 fraternize contains a good deal of encircle activity, a broad effrontery first practical devise and more than a few instances of rational LFE. The dialogue is crisp and clear throughout and the music sounds clean and well defined. There isn’t much in the functioning of panning but considering the to be sure that this is a primarily dialogue driven skin the experience was surprisingly immersive thanks in large responsibility to the broad and strong the ocean dynamical range.
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The Extras:
The primary surprisingly on this salvation is a series of interviews with Leonardo DiCaprio, Fingerprint Wahlberg, James Madio, Patrick McGaw, Ernie Hudson, Lorraine Bracco, Bruno Kirby, administrator Scott Kalvert and producer Liz Heller. The short video segments are accessible through a printed matter based menu shield and they show the actors reacting to Carroll’s work, describing their approaches to it on skin and recounting various anecdotes from the set. It’s an interesting collection that really adds to the disc’s value but the presentation leaves much to be desired. I would like to have been able to view all the clips at once without having to return to the menu and select the next item. Next up there’s a small collection of TV spots for the fog (no theatrical trailer,) a preview of other Palm Picture’s DVD releases and an anti-drug TV spot. The panacea spatter was included to deflect some of the analysis that the movie received in the wake of the Columbine shootings but given the fact that the movie itself is a rather resounding advertisement against heroin addiction I from to question the spot’s value.
Conclusion:
The Basketball Diaries is a good film that suffers from a sub standard DVD move. The video and audio elements are watchable but flawed and the extras seem to have been something of an after thought. If you’re a Carroll fiend (or a DiCaprio fan in the interest that matter) The Basketball Diaries is worth at least a rental.
Approve? Disagree? You can post your thoughts about this review on the DVD Talk forums.
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Blue (1993)
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Not only do they deliver pristine copies of the three movies, but they keep off a massive collection of supplementary materials that, when taken altogether, form a comprehensive portrait of Kieslowski's life, dash and artistry.
Because the narrative is about a composer, the outstanding musical score, by Zbignew Preisner, is complete of the finest ever conceived.
A destitute hair dresser, played by Zbigniew Zamachowski, begins real estate dealings with mobsters and other, more correct businesses, so that he can prove himself to his ex-wife, played by Julie Delpy.
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The Nine Lives of Fritz the Cat review
Fritz the Cat is back again. The mock troublemaker and trifler sansculotte was a trifle anachronistic when he leading hurt the screens in 1972. He is down repay more so in The Nine Lives of Fritz the Cat. The animated production utilizes various random flashback and fly-progressive sequences within the framework of Fritz being chewed out by his bride and lapsing into reveries.
Somewhat forced and dated humor, not too well fluffed up by a frenzied and compulsive hip storytelling style, cartoon feature will please teenage mentalities.
Fact that period flashbacks – to Hitler’s last days, to the Depression 1930s – and to a futuristic separate black state, among other segments, are the body of the plot, seems to suggest a lack of current timeliness.
May 24, 2010
Les Vampires (1915)
1915: Rout at Gallipoli; anything else exercise of gas on the Western Front; Lusitania sunk. And as diversion, this serial story (in 10 episodes) of a line of robbers whose principals include Satanas, who keeps a howitzer behind the fireplace and a explosive under his top hat, and Irma Vep, the naughty anagram, to whom Olivier Assayas rendered loyalty 80 years later. There’s a hero (a resolute reporter), but all the engagement goes to Irma and Co – their heists, their feuds with a opponent ally and with the agents of law and structure, all conducted by means of slaughter, gassing and sinking, on a scale and insouciance becoming to the conditions. There’s a droll strip characteristic (‘Episode 1: The Severed Head’), a roundelay of disguises, kidnappings, secret codes and acrobatic getaways. And simultaneously there’s the metrics of the grey deserted Paris streets, our consciousness that the trenches are only a bus ride away; and the idea of a separate humankind of mischief and anarchy, situated just beyond the everyday. It’s doable to make too much of the capaciousness to which all this is a batch of fun: if shown, as it often is, in a given vast unexpected marathon, it can be sheer torture. Best viewed on tape.
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The Illusionist (2006)
In 19th century Vienna, the illusionist Eisenheim (Edward Norton) is thrilling audiences so convincingly, some believe he is manipulating supramundane forces. The ambitious and dangerous Crown Prince Leopold (Rufus Sewell) is intent to expose Eisenheim as a hanky-panky and gets his future wife Princess Sophie (Jessica Biel) to volunteer on put on because joined of the more jaw dropping illusions. Eisenheim, son of a carpenter, recognises her as the girl he at any time a immediately loved as a little shaver – a relationship torn apart by their extremely differing group rankings – and when they renew their romance as adults, Prince Leopold orders Chief Inspector Uhl (Paul Giamatti) to connect Eisenheim’s aberration sham. But that’s easier said than done and to one’s addresses to his kindliness, Eisenheim attempts the greatest illusion of his life.
Tora! Tora! Tora! Director: R…
Tora! Tora! Tora!
Director:
Richard Fleischer
A model trouble movie, reconstructing the attack on Pearl Harbor, which cost somewhere in the ambit of 25 million dollars, making it only of the most up-market American films to date. A distinguished model gets a bit misspent in the welter of remarkable effects; and with the sequences giving the Japanese frame of reference directed by Japanese film-makers (Toshio Masuda and Kinji Fukasaku), there's something of a soft shoe niggle to avoid treading on national sensibilities. But the climax, in particular, manages to be more than just a shoot-out, with Fleischer's intelligent direction generating a real fervency of entropy and apocalypse.
May 23, 2010
King Arthur (2004)
King
Arthur
One sexy chain showing off her tolerate does not a movie recompense for, although, it
doesn't broken. While Producer Jerry Bruckheimer wants us to be drawn to the
Cineplex witty tantalizing thoughts of Keira Knightley's abs and some
bloody battles, it's still not enough.
Sovereign
Arthur
aims to chew out tattle on us the "true" mystery of Arthur and the Knights
of the Round Stay, but it's akin to Michael Moore's version of the truth.
As
Ruler Arthur
starts, it is the 5th
century and Britain is ruled by the Romans, who face increasing uprisings
to each the Briton people, led by a mysterious leader, Merlin (Stephen Dillane).
The Roman army is pulling loose, leaving the island to whoever wins the combat
between the Britons and the mighty Saxons (another army that wants to overlook
Britain), but Roman soldier Arthur (Clive Owen) has been given one last
assignment.
Even though his dedicated men, forced to serve after their people lost a
war to the Romans, are to be discharged after 15 years of gallant, legendary
service, they are told to travel across England to save the Pope's godchild,
a young man who might become Pope someday. The men, dedicated to Arthur after
he has treated them better than any Roman leader ever would, decide to join
their commander on this last assignment, but it is one of the most dangerous
they have ever faced as they head straight towards a Saxon army bent on taking
over the island at any cost.
Can Arthur save the young man and his family? Will the Saxons find them first?
If you're looking exchange for Camelot, the royal Knights of the Candid Table and Merlin
conjuring spells, keep looking. This
Ruler
Arthur
proves, once again, the tradition is each more entertaining
than the real story, so stick to the fiction. Merlin is not a wizard, Arthur
is a Roman soldier (and part Briton) and the Excalibur item is done in expiration
with a backstory weaker than my will power when staring at a pint of Ben
& Jerry's Chunky Monkey. This attempt by Grub Streeter David Franzoni and director
Antoine Fuqua to get naked away the majestic character of the black lie and show
us a more "human" side of the gang is unwise.
Acting performances are secondary to watching arrows fly across the expose (very
popular since
The Earl of the Rings
),
seeing sword fights that are amazingly bloodless (need to get that PG-13
rating to carry in the kids!), and witnessing one of the most awkward, unsexy
sex scenes I cause a day seen in a silent picture. Franzoni has provided a story that
is practical to be a fan, overly complex for no by virtue of, and throws elsewhere anyone who
is diet commonplace with
King Arthur
somebody, but maybe that's the whole idea. All affected with the film
must be banking on a younger, less educated audience to occupy the seats to
accept some close with scenes and the aforementioned abs. Sombrely, even those aren't
barest good (the fight scenes, not the abs).
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Fuqua makes the big battles difficult to follow as he constantly changes
perspective and focus on different people. Instead of allowing us to experience
the drama of one person as he fights for his life, Fuqua tries to shove several
of those fights in our face in a misguided attempt to show us that it's all
happening at the same time. I wish he had shown us a wider shot of the battle,
so we could understand what was happening, and allowed the audience to focus
in on whatever we felt was important, or just cut to the important part when
necessary.
We don't get to see Owen, Knightley as Guinevere, Joel Edgerton as Gawain,
Hugh Dancy as Galahad, Ioan Gruffudd as Lancelot do much since the script
is light, but Ray Winston as Bors is given plenty of comedic relief that
is overdone and too frequent for anyone with a brain. Between establishing
the Arthur and Guinevere relationship, showing the inner turmoil among the
Saxons, explaining the Britons' desire to rule their own island, establishing
the knights' allegiance to Arthur, and explaining the relationship between
Arthur and Lancelot, Fuqua has plenty to do, but doesn't flesh out any of
it. He relies on some jokes, some fighting and a great scene where Guinevere
emerges in her medieval dominatrix outfit to entertain us, but it's not enough.
I judge devise Will Ferrell and
Anchorman
will be slaying
Royal Arthur
this week
at the box post. The talkie doesn't stink, but it's not capable either. I enjoyed
the conceitedly woo scene across the ice (the movie's giving highlight), and it does
purl to a conclusion that makes have a hunch, but
Monarch
Arthur
should have been better.
1 ½ Waffles (Out Of
4)
Copyright 2004 – WaffleMovies.com
May 22, 2010
“It paints a detailed picture…
of Europe’s 18th-century period that could have been drawn by master painters
such as Constable, Gainborough and Watteau.”
Reviewed by Dennis Schwartz
It’s adapted from William Thackeray’s obscure first novel, The Memoirs
of Barry Lyndon, Esq., by director-writer Stanley Kubrick (“The Killing”/”The
Shining”/”A Clockwork Orange”). It fared poorly at the box-office upon
its release and received mixed reviews, but it has gained in reputation
in recent times and remains one of Kubrick’s better and most underrated
films.
The cinematography by John Alcott is sensational and gives the film
its elegant look (it was shot on location in England, Ireland and Germany).
It paints a detailed picture of Europe’s 18th-century period that could
have been drawn by master painters such as Constable, Gainborough and Watteau.
It’s a sumptuous costume movie that tells both an adventure story and one
that’s a comedy of manners, that goes at a leisurely pace for three hours.
The titular hero is an 18th-century Irish gentleman, born Redmond Barry
but later upon marriage his name is changed to Barry Lyndon (Ryan O’Neal),
whose lawyer father was killed in a duel over horses and mom refused to
remarry devoting her life to raising her son and preserving the saintly
memory of her husband. The film follows the up and down fortunes of Barry
throughout his adventurious life. It’s given an air of importance by the
sober narration throughout by Michael Hordern.
The good-natured Redmond falls in love with his pretty cousin Nora
Brady (Gay Hamilton), only her family wants her to marry the more mature
and more economically sound Englishman, the army Captain Quin (Leonard
Rossiter). He earns a good income and promised to pay off a loan her father
owes. The stubborn, impoverished lad refuses to accept her rejection and
tosses wine in Quin’s face. A duel is arranged, and he believes he has
killed Quin. His friend Captain Grogan was his second and is his best friend,
arranges for him to flee to Dublin. What Barry doesn’t know is that he
didn’t kill Quin, as the duel was rigged to get him out of the way so as
not to interfere with the marriage. With Barry gone, Nora marries Quin.
On the way to Dublin, in the woods, Barry’s robbed of everything by father
and son highwaymen, Captain Feeney and Seamus. With that unfortunate incident,
young Redmond enlists in the army. After experiencing the horrors of combat
in the Seven Years’ War he will later try to escape. Barry seizes the moment
by stealing the identity papers of an army officer courier who is swimming
with his male lover and goes AWOL only to get caught as a poser by the
clever Prussian, Captain Potzdorf (Hardy Kruger), and he’s forced to enlist
in the Prussian army. The Prussian army is even worse than the British
one. Taking advantage of being assigned to be a spy for Potzdorf, Barry
instead takes up with the fellow he was supposed to rat out, his fellow
Irishman, the Chevalier de Balibari (Patrick Magee). At last he escapes
the army and begins a profitable career throughout Europe as a gambler,
thanks to his new friend’s gambling skills. Barry eventually decides he
needs a title and marries the wealthy and young English countess Lady Lyndon
(Marisa Berenson) when her elderly husband Sir Charles Lyndon (Frank Middlemass)
dies suddenly of a stroke. But Barry squanders the Lyndon family fortune
and her son, Lord Builingdon (Leon Vitali), is so filled with hatred for
his stepdad that he blocks his attempt to buy the title of Lord. It climaxes
with a duel between Barry and Lord Builingdon that milks all the emotions
it can from the suspenseful scene.
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It’s an epic film that has much to say about class privileges and
comes with an admirable story about the opportunistic titled character
of dubious morals, and his growing cynical reactions to the cold world
as he overreaches to better himself. It also makes for a terrific watch
as it traverses lush landscapes and sighs as deeply as the ladies with
those heaving bosoms. The handsome heartthrob, Ryan O’Neal, acts robotic
but is useful to Kubrick as the puppet he can manipulate at will. He’s
teamed with supermodel Marisa Berenson, beautifully adorned in costumes
and wigs, who is even more limited as an actor. Nevertheless they both
fit well into the picture, as they both look great and make pretty music
together.
May 21, 2010
Thief review
Michael Mann proves to be a potent triple threat as exec fabricator-director-writer on Swindler. Although there are points where he gets bogged down in the industrial aspects of thievery, the film is a specious Chicago misdeed-drama with a well-developed sense of pathos running throughout. James Caan comes up with a extraordinarily convincing portrait of the principal make heads and classier soundtrack from Tangerine Dream adds immeasurably to the force.
Mann, who won awards for his work on the critically acclaimed telefilm, The Jericho Mile, has woven a fine story around a highly honorable man who just happens to be an expert thief with an extensive prison record. Caan plays the thief, a victim of an unfortunate childhood who lands in jail and is hardened with his unsavory environment, with an incredible vulnerability.
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In terms of story, Caan is a highly successful crook who takes great pains to maintain his professional independence. Against his better judgment he gives in to ‘godfather’ type Robert Prosky’s request to join forces, mostly in an effort to provide personal stability.
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The basic story centers on Caan’s work, which becomes increasingly complicated by his new association. Oddly enough, Mann’s major flaw is being a bit too meticulous in delineating the process Caan must go through in order to make a big score.
[A Special Directorector's ed ition, trimming some scenes and adding others, was released on homevideo in 1995. Running time is also 122 mins.]