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June 30, 2010

Volcano review

Filed under: Uncategorized — moviestargate @ 9:58 am

When an earthquake triggers a giantess burst of lava from the La Brea Tar Pits, sending great spews of lava all over various Los Angeles neighborhoods and causing all fashion of flaming magma mayhem, dedicated Emergency Management director Mike Roark rushes to the rescue, with help from a plucky seismologist. A no-holds-barred cataclysmic extravaganza, replete with ‘lava bombs’ bursting in air, a toned-down flirtatiousness between the city’s saviors, and the regular-faced ‘how-will-we-stop-it?’ doubt factor of the immortal Hollywood disaster epics.

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June 29, 2010

Flight of the Intruder review

Filed under: Uncategorized — moviestargate @ 7:08 pm

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‘A terrific action movie!’ – Pat Collins, WWOR-TV/New York. From the producer of The Hunting For Red October and the director of Red Dawn comes this explosive wartime adventure roaring with spectacular aerial exercise. Danny Glover (Lethal Weapon) plays commander Unreserved Camparelli, the battle-hardened squadron leader of an aircraft carrier during the Vietnam War. Brad Johnson (Always) is captain Jake Grafton, a disillusioned young renegade looking for payback. Willem Dafoe (Platoon) is Cole, the cynical, hell-bent bombardier Grafton recruits to jet flout an unauthorized mission behind enemy lines. The aim: a projectile depot in Hanoi. The Regular: the A-6 Trespasser, a low altitude bomber with no defensive weapons. The hazard: court martial at the hands of Commander Camparelli…if they live to return.

Believers review

Filed under: Uncategorized — moviestargate @ 12:33 pm

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The Movie

Shot in 15 days for the cost of two hours’ production on your average Hollywood production, Dan Myrick’s Believers is a rough-edged, chatty, and scrappy little genre flick, but it also manages to tap into a fear source that few filmmakers touch upon these days: The cult!

You know the types I mean: You hear about them on the news every once in a while: “Heaven’s Gate,” for example, which is one of this movie’s most obvious influences. From the outside perspective, the groups are ‘quietly wacko’ at best and ’seriously disturbed’ at worst. So when a pair of average Joe ambulance drivers answer a call, only to be kidnapped by a religious cult, you can be sure it’s not for good reasons. (If you remember Myrick’s name from The Blair Witch Project, then you know you’re not about to get a flashy or over-kinetic horror story.)

So there’s the basic plot of Believers: Two guys get kidnapped by a cult that believes its members must ‘achieve a higher plane’ within a few short hours, which means poor Dave (Johnny Messner) and Vic (Jon Huertas) must find a way out of their makeshift jail cells before all hell breaks loose. (Basically because ‘achieving a higher plane’ means committing mass suicide before the Earth is swallowed by an inferno.) So if anything, Believers earns a little praise for coming up with a basic-yet-intriguing premise and following through with some conviction. (Oh, and the leader of the cult is played by the great Daniel Benzali, which certainly helps matters.)

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Keep in mind, horror freaks, that this is not even remotely a body-strewn or gore-intensive experience. Believers feels more like a feature-length episode of The Twilight Zone or The Outer Limits … right down to the third-act revelations that you’ll see coming a few miles away. Despite being overlong by about ten full minutes, the flick’s essentially pretty darn watchable. You’ll forgive the straightforward storytelling and the generally flat production design because, hey, we’re talking about a pretty low-budget project. And despite some obvious turns, there are a few grim surprises along the way. Still, one can’t help but think this 3-star movie would have made for a 4-star episode of Masters of Horror, with just a few trims here and there. As it stands, about half of Believers is stark, simple, and engaging — and the other half is an unnecessarily verbose (and somewhat redundant) affair. Overall it makes for a half-decent time-waster, but nothing you’ll be raving about tomorrow.

The Specs

The film is presented in an anamorphic widescreen (1.78) format, but here’s what the DVD case tells us: “Presented in a ‘letterbox’ widescreen format preserving the ’scope’ aspect ratio of its original television exhibition.” The picture quality is a little dingy, given the budgetary constraints and low-lighting directorial choices, but the movie’s more than watchable. Audio is delivered in Dolby Digital 5.1 (English only), passably. Optional subtitles are available in English.

Extras

First up is a dry-but-informative audio commentary with director Daniel Myrick and screenwriter Julia Fair that’ll please the fans and send anyone else right off to sleep. We also get a collection of deleted scenes: Extended Lina Vance Interview (3:53); Introduction to the Facility (3:35); The Teacher (2:48); Io Explains the Formula (3:39); and The Aftermath (4:42). The Believers trailer is also included.

Final Thoughts

A little slow and a lot “talky,” but there’s always something to be said for an indie horror flick that aims for the cerebral over the simply visceral. Worth a rental if “cult behavior” fascinates you, but beyond that is your call.

A fearsome plunge into the wo…

Filed under: Uncategorized — moviestargate @ 2:53 am

A awesome plunge into the world of child soldiers in present-daytime West Africa, “Johnny Mad Dog” initially repulses with its brutalizing depictions of proper-at daggers drawn carnage. But viewers who strap themselves in for Jean-Stephane Sauvaire’s oldest fiction work (after “Carlitos Medellin,” his 2004 docu forth against-torn Medellin, Colombia) may glean some tremors of insight into the internal psychology and external machinery that recklessly young rebels to take up arms. Shot using nonpro tykes, scads of whom lived on account of the horrors depicted, great pic will decree fest attention, despite the fact that commercial prospects look as bleak as the earthly.

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Sauvaire and Jacques Fieschi’s screenplay is based on Emmanuel Dongala’s 2002 novel about two very different teens caught up in a terrifying surge of violence in a Congolese city. Though it was lensed in Liberia (a relatively stable filming environment following the January 2006 election of President Ellen Johnson-Sirleaf), “Johnny Mad Dog” leaves the exact location and nature of its ethnic conflict unspecified, which may annoy viewers hoping for context and analysis, but also heightens the film’s more universal implications.

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Pic opens in medias res with an assaultive episode of shooting and pillaging (the first of many). With several crosses draped around his neck and an automatic rifle ever at the ready, charismatic 15-year-old Johnny (Christopher Minie) leads a band of young fighters for one of the rebel factions as they sweep through small towns on foot.

Meanwhile, the attack forces 13-year-old Laokole (Daisy Victoria Vandy) to flee her home with younger brother and disabled dad in tow. Pic strikes a blunt but effective contrast between Laokole’s heroic struggle to survive and Johnny’s senseless killing spree, although it’s clearly more invested in the latter.

The questionable decision to have kids re-enact their real-life traumas aside, the young African thesps effortlessly inhabit their roles. In the title role, Minie mostly just has to look fierce and fire at will, but he does get opportunities — as when Johnny claims a young refugee as his lover, or when he’s finally put in his place by a superior — to suggest the unmet needs and insecurities of a boy whose journey to manhood has been irrevocably halted.

Cringe-inducing scenes of atrocities, including rape and point-blank executions, are made all the more unbearable by herky-jerky camerawork and editing. Just as assaultive as the violence are the nonstop obscenities and threats spewed by Johnny and his ilk at all times, their angry voices cranked up to ear-splitting decibels. There’s no doubt “Johnny Mad Dog” means to leave the viewer with a visceral impression of its terrors, or that it largely succeeds. Whether that accomplishment deserves praise is more of an open question.

Locations and production design are top-notch.

June 28, 2010

Directed by: Charles Dutton R…

Filed under: Uncategorized — moviestargate @ 5:08 am

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Directed by:



Charles Dutton


Rating:

3/10

Against the Ropes
Reviewed by
Gary Panton
on
Friday, October 22nd, 2004
.

A film where the only thing skimpier than its star’s outfits is the storyline.

Rating:
3/10


Running Time:

111 minutes

Certificate:

US:

PG-13

UK:

PG

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On DVD


Country:

United States

I’ve watched ‘Against the Ropes’ twice now, and I still can’t work out who it’s aimed at – spunky modern day women’s libbers who lapped up the likes of ‘Erin Brockovich’, or boxing fans? To be honest, it’s highly unlikely the film will garner much appreciation from either.

Based extremely loosely on the real-life story of a female boxing promoter who discovered a champ and stuck it to the man, it stars a horrendously-dressed Meg Ryan as First Lady of Pugilism, Jackie Kallen. Slightly unbelievably, she’s in a Cleveland ghetto one day when she spots naughty swearing black man Luther Shaw (Omar Epps) getting himself into a punch-up. Instantly appraising his scrapping skills as “off the hook”, she rescues him from a lifetime of drug-dealing and hip-hop music and trains him up for a shot at the world middle-weight champion’s belt.

Sounds like a pile of cack, right? Well, there’s a very good reason for that – it’s because it is. Playing as one big cliché-fest, you can spot every last plot development coming a mile away, and Meg Ryan acts from start to finish as if the whole thing is beneath her (the worrying thing is, it probably is). Cheryl Edwards’ rank-awful screenplay doesn’t help either. It’s chock full of horrendous metaphors, such as “the world is not an oyster”, “run with the big dogs, don’t just sit on the porch and bark” and “find an elevator, press some buttons – at least the only way up is up.” Strangely though, the only metaphor that sprung to this reviewer’s mind whilst watching Ryan trot ludicrously around in those skimpy outfits was one involving mutton.

Simply put, this is a silly film. Had it concentrated a little more on the boxing side of things, it might have worked a little better. After all, Epps delivers a decent enough performance with very little material to work with and not a great deal of screen time. Unfortunately, the film’s only real concern is pitting Ryan’s predictably-feisty girl power up against the big bad male stereotypes who stand unconvincingly in her way at every turn. Whether you choose to look upon it as a boxing film or a slice of female empowerment, you’ll have seen it all before.


It's Got:

A fat Ben Affleck look-a-like – keep an eye out for him standing behind ‘Men In Black’s Tony Shalhoub in most of his scenes.


It Needs:

Epps’ championship opponent Juan Hernandez to have at least gotten in shape a little for the role. He looks less middle weight than jiggle weight.


DVD Extras

A behind-the-scenes featurette titled ‘Ringside Seat’, a featurette on the real Jackie Kallen, and a trailer.

DVD Extras Rating: 

3/10


Alternatives:

Erin Brockovich,

Rocky

Summary

A film where the only thing skimpier than its star’s outfits is the storyline.

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This entry was written by

Gary Panton

, posted on

October 22, 2004 at 12:00 am

, filed eye

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Pan’s Labyrinth review

Filed under: Uncategorized — moviestargate @ 3:28 am

Ofelia's most treasured possession is a book of fairy tales, into which she absorbs herself to escape the world around her. When Ofelia and her mother arrive at Captain Vidal's military headquarters, the site of a former mill, they are greeted by armed soldiers swarming everywhere. Ofelia's stepfather is in this place to root out the last vestiges of the recently defeated rebel forces. He will stop at nothing to achieve his goal of eradicating the rebel army down to the last man. Carmen, who was already sick from her pregnancy, soon grows sicker and is confined to bed, the pregnancy and her own life in danger.

Ofelia's escape from her gloomy surroundings begins with the gentle housekeeper, Mercedes (

Maribel Verdú

), who befriends the lonely, frightened girl and shows her the mill's abandoned garden, which has a labyrinth as its most interesting feature. Ofelia explores the labyrinth, and within its walls finds a remarkable fantasy world lorded over by a Faun (

Doug Jones

), who sends her on a series of increasingly difficult tasks in order to prove that she is really a lost, enchanted princess who lost her way from the fairy realm centuries ago. Through the fantasy of the labyrinth and the adventures Ofelia finds there, she will come to terms with her fears and with the monsters of both her real life and her imagination.

Baquero gives a spectacular performance as Ofelia; she is both brave and terrified, and turns those emotions on a dime without missing a beat. Verdú and Gil bookend Baquero as her mother figures, the symbols of safety, warmth, and nurturing, while Lopez chills to the bone as the ever-vigilant and ruthless stepfather.

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In

Pan's Labyrinth

, director Guillermo del Toro once again explores the darker side of human nature through an elaborately crafted fantasy world. del Toro is a master at this type of film, going beyond the realm of mere fantasy to create a fable wrapped within a carefully crafted drama. One of the things that sets del Toro apart from a lot of other directors who dabble in the fantasy realm is that his writing — storyline, dialogue, character arcs — is so incredibly well-drawn, and never takes a back seat to the special effects. Which is not to say that the film isn't visually spectacular as well; it is a darkly hypnotic, visual poem of a film. But del Toro actually groks that truly great storytellers never sacrifice the story for the sake of the illustrations. Both elements must work together and balance each other, and in

Pan's Labyrinth

, del Toro accomplishes that lofty goal to near perfection.

For more on

Pan's Labyrinth

, see

James Rocchi's interview with Guillermo del Toro

at the Toronto International Film Festival.

June 27, 2010

Series 7: The Contenders review

Filed under: Uncategorized — moviestargate @ 12:24 pm

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taget det lille skridt videre, som ingen tv-direktører endnu har turdet træde; skridtet, der involverer ægte, uspoleret kamp for livet mellem deltagere i et tv-show. 'Contenders' er et nyt begreb i amerikansk tv, hvor en gruppe mennesker bliver udtrukket på deres personnummer og får udleveret en pistol af tv-selskabet. Derefter er der frit slag ? den med flest drab på de andre fra showet vinder og kommer videre til næste runde. Da vi træder ind i den blodige tv-failing, er vi nået til runde 7 ? heraf filmens titel ? og det er den højgravide stormester, Sooner affair, som er tv-showets og filmens hovedperson. Hun overlever på en blanding af moderlig trang til at føde grade sometime barn og en fanden-i-voldskhed, som de andre deltagere slet ikke kan mobilisere.

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Amatører i fin form

Helt i stil med de rigtige actuality-shows kommer vi rundt til de forskellige deltagere og hører om deres liv og deres baggrund, og naturligvis følger vi dem, når de endelig vover sig udenfor i håbet om at skyde en af modstanderne. De når dog aldrig at blive særligt interessante i forhold til First light, som til gengæld er noget af en ener på impiousness egen, voldsomme måde. Det viser sig hen af vejen, at hun har et speget forhold til en af de udpegede modstandere, og den sidehistorie er lige ved at lokke filmen væk fra dens egentlige ærinde; at minde os om, hvor tæt vi egentlig er på de tilstande, som udspiller sig i filmens depict. Sidehistorien er dog nødvendig i arbejdet på at få spilletiden til at nå de 85 minutter, som nærmest betragtes som et minimal pro en biograffilm, men et eller andet sted lurer fornemmelsen af, at

Series 7

havde været mere medrivende og præcis i impiousness kritik, hvis den havde været i formatets oprindelige rammer, altså ca. 60 minutter.

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Irriterende pletskud

Stilen er yderst vellykket holdt i tv-showets stil. Her er masser af falske reklamepauser, korte opsummeringer og det ofte klodsede, dramaturgiske arbejde med at etablere skurke og helte blandt seriens deltagere. Hvis det var et virkeligt be visible, må kvaliteten kaldes so-so, men når man sætter sig ud finished fornemmelsen af at se smash-tv i en biograf og betragter filmen som socialsatire, så antager den pludselig en helt løgo deeply into skikkelse. Den er markant anderledes end åndsfæller som

The Truman Give someone an idea of

og

Edtv

, der begge kredsede om koncepter til tv-shows, som var lige en tand længere ude leave off virkelighedens, men hvor både Peter Weir og

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lavede 'rigtige' blear, så er

Series 7

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The Blair Xanthippe Project

. Uanset hvad, så skal curb nok ikke være alt someone is concerned fjendtligt indstillet overfor tanken om reality-shows, looking in the direction of at få noget ud af Advent og Co.?s anstrengelser, for man bliver slæbt med langt ind i fjendeland, før chains får lov til at nikke bedrevidende med på satirens advarende kritik om mediebilledet anno 2002. Boy os bare håbe, at Minahan ikke får ret i den nærmeste fremtid.

June 26, 2010

Series 7: The Contenders review

Filed under: Uncategorized — moviestargate @ 9:09 pm

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taget det lille skridt videre, som ingen tv-direktører endnu har turdet træde; skridtet, der involverer ægte, uspoleret kamp for livet mellem deltagere i et tv-show. 'Contenders' er et nyt begreb i amerikansk tv, hvor en gruppe mennesker bliver udtrukket på deres personnummer og får udleveret en pistol af tv-selskabet. Derefter er der frit slag ? den med flest drab på de andre fra showet vinder og kommer videre til næste runde. Da vi træder ind i den blodige tv-failing, er vi nået til runde 7 ? heraf filmens titel ? og det er den højgravide stormester, First occurrence, som er tv-showets og filmens hovedperson. Hun overlever på en blanding af moderlig trang til at føde mark time barn og en fanden-i-voldskhed, som de andre deltagere slet ikke kan mobilisere.


Amatører i fin form

Helt i stil med de rigtige actuality-shows kommer vi rundt til de forskellige deltagere og hører om deres liv og deres baggrund, og naturligvis følger vi dem, når de endelig vover sig udenfor i håbet om at skyde en af modstanderne. De når dog aldrig at blive særligt interessante i forhold til Dawn, som til gengæld er noget af en ener på sin egen, voldsomme måde. Det viser sig hen af vejen, at hun har et speget forhold til en af de udpegede modstandere, og den sidehistorie er lige ved at lokke filmen væk fra dens egentlige ærinde; at minde os om, hvor tæt vi egentlig er på de tilstande, som udspiller sig i filmens depict. Sidehistorien er dog nødvendig i arbejdet på at få spilletiden til at nå de 85 minutter, som nærmest betragtes som et minimal for en biograffilm, men et eller andet sted lurer fornemmelsen af, at

Series 7

havde været mere medrivende og præcis i sin kritik, hvis den havde været i formatets oprindelige rammer, altså ca. 60 minutter.

Blood and Bone full movie bluray


Irriterende pletskud

Stilen er yderst vellykket holdt i tv-showets stil. Her er masser af falske reklamepauser, korte opsummeringer og det ofte klodsede, dramaturgiske arbejde med at etablere skurke og helte blandt seriens deltagere. Hvis det var et virkeligt show, må kvaliteten kaldes so-so, men når man sætter sig ud over fornemmelsen af at se slam-tv i en biograf og betragter filmen som socialsatire, så antager den pludselig en helt løgo deeply into skikkelse. Den er markant anderledes end åndsfæller som

The Truman Show

og

Edtv

, der begge kredsede om koncepter til tv-shows, som var lige en tand længere ude discontinue virkelighedens, men hvor både Peter Weir og

Ron Howard

lavede 'rigtige' film, så er

Series 7

snarere at sammenligne med den konstruerede ultrarealisme i en haziness som

The Blair Witch Project

. Uanset hvad, så skal man nok ikke være alt for fjendtligt indstillet overfor tanken om reality-shows, looking for at få noget ud af Dawn og Co.?s anstrengelser, for man bliver slæbt med langt ind i fjendeland, før man får lov til at nikke bedrevidende med på satirens advarende kritik om mediebilledet anno 2002. Boy os bare håbe, at Minahan ikke får ret i den nærmeste fremtid.

All Things Fair (1995)

Filed under: Uncategorized — moviestargate @ 5:19 pm

Film:
Set in the indisputable years of Existence Hostilities II the Swedish film All Things Fair is jell up as if it is near an affair between a woman educator and a teenage youngster trainee. And at outset that is the focus but it eventually becomes a story about the boy’s dispute and his kinfolk.

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Stig (Johan Widerberg) is the new boy in school. He’s popular and attractive and he catches the eye of one of the younger good looking teachers Viola (Marika Lagercrantz). They begin an affair. She is married to a wool stockings salesman who is an alcoholic.

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In time the film takes an interesting twist where the woman’s husband becomes a sort of father figure to the boy. But it isn’t the husband who causes the relationship to go sour – it’s the fact that the boy is coming-of-age and eventually must move on.

The film is directed by Bo Widerberg who made a name for himself in the late 1960’s with the huge hit Elvira Madigan. This film is good but nowhere as effective or beautiful as that one. From a purely marketing standpoint the film doesn’t deliver the sex in the way it promises. And even though the acting is very good and there are some very well directed individual scenes the entire thing does not hold together too well. Scenes come and go too fast, characters and situations are never fully developed and nothing takes any dramatic hold.

The best scenes are between Stig and his mother especially when they contend with news about Stig’s brother who has gone off to fight in the war. And the scenes between Stig and his lover’s husband (Tomas von Brömssen) which resonates in a realistic way. This could be because the boy playing Stig is the director’s son.

The film is 132 minutes long but it seems as though it was made to be 4 hours long and had to be cut down.

June 25, 2010

Inside Daisy Clover (1965)

Filed under: Uncategorized — moviestargate @ 7:34 pm

There will be those who may claim Exclusive Daisy Clover is based upon the true-life story of an actress who rose to shining blonde stardom. Alan J. Pakula and Robert Mulligan focus their sights upon a teenage beach gamin who becomes a Hollywood lady of the 1930s. Covering a two-year period, the outgrowth is at times split up and episodic as the title-deed character played by Natalie Wood emerges more nebulous than definitive.

Femme star seems to be eternally searching for the meaning of her role; she is almost inarticulate for long intervals and whoever is in a scene with her generally engages in a monolog since there is seldom dialog between them. The Gavin Lambert screenplay, based on his own novel, hop-skips through a brief romance with a screen idol, her one-day marriage, desertion and divorce; a nervous breakdown after the death of her mother.

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Probably the outstanding parts of pic are two novel musical numbers [staged by Herbert Ross], one in which the studio boss introduces his new star in a specially-made film shown at a party and second featuring her after she’s reached stardom.

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Wood is better than her part. Her co-star is Christopher Plummer, who gives polish and some stiffness to the sadistic studio head bound to build himself a star.

1965: Nominations: Best Supp. Actress (Ruth Gordon), Color Costume Design, Color Art Direction

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