Layer Cake movie download

September 21st, 2008 by dvdreview

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The never-named narrator/protagonist of the stylish British gangster film “Layer Cake” tells us from the beginning, “I’m not a gangster, but a businessman whose commodity happens to be cocaine.” Played with cool aplomb by Daniel Craig, the nongangster drug dealer is meticulous about the way he handles his affairs. As the middleman of an international drug-trafficking ring, he appears to be good at what he does, adhering to a strict set of rules designed to keep him out of the reach of both the law and the seedier denizens of the British underworld. ADVERTISEMENT At the outset, we learn that XXXX (as he’s identified in the credits) has decided to walk away from the business that has been very lucrative for him and go legit. As we have learned from umpteen like-minded genre films, that simply isn’t going to happen. The brutish crime lord who is his supplier, Jimmy Price (Kenneth Cranham), has an extracurricular assignment for him. He is to search for the drug-addicted young daughter of an even more powerful crime boss, Eddie Temple (Michael Gambon), a long-ago school chum of Jimmy’s. Meanwhile, XXXX must also successfully negotiate at Jimmy’s behest the sale of a million tablets of Ecstasy, the ill-gotten largesse of a crass, two-bit hood named Duke (Jamie Foreman), who has crossed a deadly Serbian gang in the process. What sets “Layer Cake” apart from the usual “Just when I thought that I was out they pull me back in” films is a stunningly suave performance by Craig, a top-drawer supporting cast and a dynamic directing debut by producer Matthew Vaughn. After headlining the dramas “Sylvia,” “The Mother” and “Enduring Love,” Craig has the type of star-making role that has people talking about him as a possible James Bond — though in truth, he is probably far too complex an actor to be confined by that role. In addition to Cranham and Gambon, Colm Meaney and George Harris are excellent as more gangsterly associates of XXXX. Vaughn, the producer of Guy Ritchie’s “Lock, Stock and Two Smoking Barrels,” “Snatch” and “Swept Away” (we’re going to have to forgive him that last one), mines a similar milieu to the first two films and shows a real talent for dealing with antiheroes (for which he has been rewarded with the assignment of directing the upcoming “X-Men 3″). Working from a script full of sharp dialogue and pointedly evocative sequences by novelist J.J. Connolly, Vaughn uses violence in an effective, nongratuitous way to sculpt the world of consequences in which his characters operate. A jaw-dropping scene set in a tearoom in which XXXX’s top lieutenant, Morty (Harris), delivers a savage beating to a man who once crossed him as XTC’s “Making Plans for Nigel” segues into Duran Duran’s “Ordinary World” on the soundtrack is a bravura display of Vaughn’s aptitude for employing pop songs without turning the scenes into music videos. The Cult’s “She Sells Sanctuary” and the Rolling Stones’ “Gimme Shelter” are also used to great effect. It’s not a perfect film, marred by some misguided flashbacks, an overcomplicated narrative and perhaps one too many reversals for its own good. However, “Layer Cake” — which draws its title from an implicit reference to the British class system and an explicit one in which Temple explains to XXXX their relative places in the criminal hierarchy — is a sleek, effective entertainment that is a refreshing respite from the slick emptiness of recent American crime dramas. Layer Cake MPAA rating: R for strong brutal violence, sexuality, nudity, pervasive language and drug use A Sony Pictures Classics release. Director Matthew Vaughn. Producers Matthew Vaughn, David Reid, Adam Bohling. Executive producer Stephen Marks. Screenplay by J.J. Connolly, adapted from his novel. Director of photography Ben Davis. Editor Jon Harris Davis. Production designer Kave Quinn. Running time: 1 hour, 45 minutes. In selected theaters.
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online Beverly Hills Ninja movie

September 20th, 2008 by dvdreview

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Beverly Hills Ninja (1997) / Comedy-Action

MPAA Rated: PG-13 for violence and mild sexuality Running Time: 88 min. Cast: Chris Farley, Nicolette Sheridan, Robin Shou, Chris Rock, Nathaniel Parker, Soon-Tek Oh, Keith Cooke, Francois Chau Director: Dennis Dugan Screenplay: Mark Feldberg, Mitchell Klebanoff

 

 

SNL alum, Chris Farley (Tommy Boy, Black Sheep), plays Haru, who lands among a clan of ninjas when a ship he is on is shipwrecked while he is still a baby.  Prophecy has foretold that a Great White Ninja would come and be their savior, but growing, Haru has shown very little of the skills necessary that would show he is worthy of the honor.  As a test of his worthiness, Haru consents to help a desperate woman (Sheridan, The Sure Thing) seeking assistance with the clan in keeping tabs on her ne’er-do-well boyfriend (Parker, The Haunted Mansion), who has gotten his hands in an insidious counterfeit money operation.  When the woman disappears, Haru uses clues to trace her back to Beverly Hills, and with his brother Gobei (Robin Shou, Mortal Kombat) at his side, rescue her from any mishaps that may have befallen her.  Beverly Hills Ninja is one of the most juvenile PG-13 films you’re ever likely to see, with only one joke going for it  to see how many pratfalls the portly actor can endure without killing himself or others.  If you have fits of laughter whenever you see a fat man fall on his face, this is the kind of movie for you.  No one, and I mean no one else need apply.  Even Chris Rock (Dogma, Lethal Weapon 4) fans will be disappointed at just how poor the level of humor is here.  Nicolette Sheridan proves to be the only asset worth watching here, more for her mini-skirt than for her acting skills.  Only for Farley’s biggest fans, who are obviously not very hard to please. © 2004 Vince Leo

   

 
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September 20th, 2008 by dvdreview

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The year’s first laugh-out-loud-funny thriller, “Hide and Seek,” owes much to Stephen King and not a little to the perilous path of being too self-referential. “Come out, come out, wherever you are!” beckons an oft-repeated piece of dialogue, echoing star Robert De Niro’s Max Cady in the 1991 version of “Cape Fear.” It’s a silly connective — using intentional humor to leaven the tension. Unfortunately, a far more frequent occurrence in “Hide and Seek” is inadvertent laughter at the film’s silly dialogue and the dunderheaded actions of its characters. ADVERTISEMENT After the unexpected death of his wife, New York City psychologist David Callaway — played by De Niro with hand-wringing solemnity for most of the film — moves his traumatized 9-year-old daughter, Emily (Dakota Fanning), upstate to a large rambling home in the woods outside a rustic town. Surrounded by leafless, Gorey-esque trees and a handful of creepy neighbors, it’s just the place to raise an emotionally troubled child. Fanning, with her usual blond locks dyed Wednesday Addams black, plays Emily as the ultimate devil child. Damien Thorn from “The Omen” has nothing on this kid. As Emily becomes more withdrawn, her father tries to get her to open up in order to find out what’s going on behind those soulless blue-gray eyes. Strange things begin happening around the house — cryptic messages are scrawled in blood-red crayon in the bathroom, dolls are mutilated, a family pet comes to a bad end — all of which Emily blames on her new friend, Charlie. The “come out, come out” line is taken from the children’s game of the title, which Emily once played with her mother and now enjoys with Charlie. The crux of the film’s action occurs when the unperceptive David finally gets around to being alarmed enough to try to determine whether Charlie is Emily’s coping mechanism — a make-believe friend — or an actual person who has invaded their lives. What De Niro is doing in the film is anyone’s guess. He seems to have lost interest in being taken seriously as an actor, content to lampoon his earlier career as one of cinema’s great performers, run his film festival and appear as an icon in commercials for American Express. It’s really Fanning’s film anyway, allowing her to add a gothic layer to the preternatural children she played in “I Am Sam,” “Man on Fire” and the sci-fi miniseries “Taken.” Any campiness is strictly the result of John Polson’s direction. As with his previous feature, “Swimfan,” Polson seems inordinately fond of genre clichés, as if packing in more of them will actually make the movie scary. Nor is subtlety a factor as the director clubs the audience over the head with predictable setups and John Ottman’s overwrought score. The broad outline of first-time screenwriter Ari Schlossberg’s story might have worked with the double-distended-twist ending, but the execution defies any chance of an audience suspending its disbelief. From its ludicrous pre-title sequence to the drawn-out finale and its blatant setup for a sequel, the movie pulls down more laughs per minute than your average Ben Stiller comedy. Unless you’re a connoisseur of movies that are so bad they’re good, “Hide and Seek” is one game you’re not going to want to play. Hide and Seek MPAA rating: R for frightening sequences and violence Times guidelines: Most of the violence occurs off screen but we’re faced with lots of the bloody residue. Robert De Niro…David Callaway Dakota Fanning…Emily Callaway Famke Janssen…Katherine Elisabeth Shue…Elizabeth Amy Irving…Alison Callaway Twentieth Century Fox presents a Josephson Entertainment production, released by Fox. Director John Polson. Producer Barry Josephson. Executive producer Joe Carraciolo Jr. Director of photography Dariusz Wolski. Editor Jeffrey Ford. Music John Ottman. Production design Steven Jordan. Costume design Aude Bronson-Howard. Art directors Dennis Bradford, Emily Beck. Set decorator Beth Kushnick. Running time: 1 hour, 40 minutes. In general release.
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September 20th, 2008 by dvdreview

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Remakes are probably one of the hardest things to do in cinema. A precedent is already set, and in Fist of Fury’s case, it was first done by a legend, Bruce Lee, then successfully retold by Jet Li. So Donnie Yen’s 1995 attempt makes a third stab at telling the story.

Since it is such an already well known story, I wont go into much detail about it. Suffice to say, if you are reading this and haven’t seen either the Bruce Lee or Jet Li versions of this story (Fist if Fury, aka. in the US Chinese Connection and Fist of Legend, respectively), then please see them first. But, for those that don’t know or need a refresher, the basic story is- 1930’s Shanghai. Martial arts student Jun Chen returns home to find turmoil. The Japanese are in control and their martial schools have begun to usurp the Chinese schools. Jun Chens’s master tries to rally the Chinese schools together, and in his efforts to prove Chinese styles superiority (the Japanese call them the “Sick Men of Asia”), he is poisoned and killed by the Japanese. As they further plot to dominate the Chinese martial world and destroy the spirit of his people, divided by his love for a Japanese girl, Yumi, and his hatred for the atrocities committed against his culture, Jun Chen soon wages an almost one man war against the Japanese.

Now, with two legendary films of the same story already existing, how do you make it different, justify telling the same story again? Previously, I thought Jet Li was crazy for remaking a Bruce Lee film, but of course, he triumphed in making one of the greatest modern martial arts films, Fist of Legend. So, it is a mammoth uphill battle to try for a third time. In this versions case, they took the idea and decided to do it as a 30 hour tv series, the first half dealing with the backstory we never saw, and the last part being a retelling of the film version we kung fu fans know so well. However, that is the crux of one of the problems I have with this edition. This edition is a 2 hour cut, condensing the last half of the series, the story we already know, so we don’t get that unique glimpse into the characters backstory. Releasing a condensed version is smart, because, in America at least, not many people are going to want to pay for and sit through 30 hours of low budget tv. But for the cult audience of Asian afficianados, its may be annoying that with this version you only get a small hint of the changes and know you are missing out on the whole story. I was just hoping for a little more backstory, and would probably like and extra 30 mins added at the beginning so I could see some of it.

Quite frankly, the problems hinge on the fact that the series was made in a fourth of the time and probably 1/25th of the budget that American tv viewers are accustomed to. It is that culture shock problem, if I wasnt raised in the US with US tv standards in production and acting, I may love this series. The cast is all solid, and (at least in this version) the editing is kept at a brisk pace, keeping the story moving. But, it is all so cheap. Despite some good sets, locations, and occasional scenes of atmospheric shots, it is hindered by the limited scope of the production. No doubt stretched to its fullest extent, the lack of true time and budget for the action, actors, and filming makes this production nothing more than of novelty interest to really die hard kung fu/martial afficianados.

The thing about being a Donnie Yen fan, no matter how much you love him (like I do), the sour fact is that he never really took off as a huge star or solo talent. In the industry and with fans, he has respect, has charisma, and certainly has talent on par with any of the top names in martial films, from Jet Li, to Yuen Biao, to Jackie. But, I think getting his start in the age when martial films were dying, when the true martial stars began to fade and fighting just became an element in any kind of action film, as opposed to a genre in and of itself, he never saw the chance to be a huge star. His resume is a nice blend of genres, from one of the last old school films- Drunken Tai Chi, to cop action- In the Line of Duty 4, Tiger Cage, to fantasy swordplay- Dragon Inn, Comet Butterfly and Sword to new wave, wire fu period fighting- Wing Chun, Once Upon a Time In China 2, Iron Monkey, but in these films, his best work, he was usually a co-star or shared billing with other stars. And, his directorial efforts like Legend of the Wolf and Ballistic Kiss are really nothing more than entertaining b-pictures. Likewise, this Fists of Fury tv series really does fall short as a Donnie Yen showcase. Although he did the fight choreography, the limited budget never allows him to do much, sometimes having to choreograph and shoot an elaborate fight scene in one night, with non martial actors and limited stuntmen. The fights are so sped up and awkwardly shot, it is often very laughable, and not the best example of this talents. While he does try to pay more of tribute to Lee than Jet Li did, aping Lee’s stances, vocalizations, and some dialogue, it is admirable but still not enough to save the show from its overall clumsiness- no doubt all the more clumsy due to this version being an edited one.

The DVD- Tai Seng DVD. Not a terrific adaptation, but the DVD is actually a surprising treat due to a great commentary track.

The Picture- Basically fullscreen, tape (BETA, thank you D Yen commentary). The transfer does fine with the materials provided, but what is provided just doesn’t look that great. I think it is safe to say, mid 90’s HK television is on par/worse than an early 1970’s Doctor Who episode. We have infomercails that look better. Hell, I’ve got home videos that look better. But, as far as I could tell, the transfer is glitch and artifact free, gaining it major points. Just be forewarned, it looks as good as it can but HK tv is pretty darn cheap.

Sound- Dolby Digital 5.1 Cantonese or English dub tracks with optional yellow English subtitles. Very good audio tracks. While pretty straightforward and a little hollow, what they lack in dynamics they make up for in simple clarity. The sound fx is pretty generic and one assumes most of the dialouge was dubbed. Its fine but, once again, it is a low budget tv production, so don’t expect outstanding score or fx.

Extras- Chapter selections— Tai Seng Trailers for Bullets of Love, Assassin, The Duel, Cop on a Mission, Fist Power, Deadful Melody, Dragon Inn, and Fists of Fury— Donnie Yen Filmography— Making Of behind the scenes featurette. This 21 ˝ min promo for the series features various soundbites from the production crew, and Yen in the gym, but mainly it has several scenes from the film and montages that let us see some of what we have missed in this condensed version, including early plotting and fight scenes. As a matter of fact, the fight scenes in this featurette look better than the scenes in the movie, so it is a welcome addition.— Commentary tracks. Track one) Donnie Yen and Dr. Craig Reed. Donnie Yen commentary is immense fun. He is extremely affable and very easily slides into talking about the project and is upfront about its limitations. He discusses the pressure and time constraint he was under, having to choreograph a fights on the spot, with so-so stuntmen, and finish it in a matter of hours (which leads to a great anecdote about the infamous padded down Bey Logan fight we see in the film). He even mentions how it was an oversight on his part, not realizing the undercranking/speeding up of BETA would be different form film undercranking and would make the fights look too fast. And, no one is spared as Donnie amusingly points out the melodrama, bad acting in scenes of co-stars as well as himself. At the end of the track, he jokes that maybe the commentary will be the DVDs main selling point, but, no joke, with his laid back yet informative, fun comments, he is right. Track 2) features Dr. Craig Reed again (who is this guy?), Tai Seng product manager Frank Djeng, and martial artist film star Robin Shou. While Donnie’s track is mainly anecdotes about the production and thoughts on Bruce Lee, this track delves into the stars and the history behind the story. It too, is lighthearted and fun, but unfortunately is hampered by technical difficulties, the track is full of hiss, and the low volume commentary struggles against the film soundtrack. It is a good thing there are two tracks, because, although still listenable, the second commentary is so annoyingly distorted it was a struggle to sit through.

Conclusion- Well, this version of Fists of Fury while ambitious in its scope, is hampered by limited HK tv budget and general melodrama. A curiosity for HK and Donnie Yen fans, luckily the DVD, although a condensed version of the series, does offer good extras, particularly the featurette and the Donnie Yen commentary that make it worthwhile for those die-hard completists out there. Otherwise, I would say it is best to approach with caution and maybe give it a rental first.
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download divx Any Given Sunday movies

September 19th, 2008 by dvdreview

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NOTE: At the time of this review the special edition 2-disc set of Any Given Sunday was only available in the Oliver Stone Collection boxed set. It has since been released on its own.

Oliver Stone never does anything by half. In each of his films, from Platoon to Wall Street, JFK to Nixon, he always seeks to make THE definitive movie on any given topic. Even though his main focus has been on the Viet Nam war, its aftermath, and the culture that grew up around it, his other films have been equally grandiose. That’s why it’s no surprise that his football epic, Any Given Sunday includes everything but the kitchen sink. His other recent off-topic film, U-Turn, sought to include every twist-and-turn available to films noir in the Detour vein, and Any Given Sunday doesn’t skip anything either. On-field drama, back-room business deals, medical shenanigans, locker room trash-talking, media braggery, sexual tomfoolery, coke snorting, and just about everything else (except, perhaps, a steroid scandal) is pulled out to define football as, predictably, the gladiatorial sport of our times (or rather, as one player puts it while watching Charlton Heston in Ben Hur, those were the gladiators of THEIR time).

Any Given Sunday, which follows a difficult half-season for the fictional Miami Sharks, reminded me of an overstuffed meatball hero: full of balls, a lot of fun, but in the end, maybe a little too much meat and not enough nutrition. From the opening shot (a huge close-up of a football shot like a 2001 monolith), Stone is reverent of the game itself and what he perceives as the ideals of team play, of glory, of awe in the physical achievements of other men. He reins in his visual style for most of the movie (well, reined in for Stone) so that we can really appreciate the movement of the players and the bone-crunching hits they take. The games are very cinematic; He approaches the opening moments like it’s D-Day and he’s Steven Spielberg. When a player more used to warming the bench steps onto the field for the first time the disorientation he feels is palpable. You can tell that he never expected the field to feel so different during game-time.

The characters are mostly pretty interesting and the huge cast does some good work, most notably Al Pacino, for once given an appropriate reason to yell a lot, and Jamie Foxx, giving a surprisingly textured performance for a guy who started on In Living Color (Together with Marlon Wayans’ outstanding performance in Requiem For a Dream I’m thinking about going back and reevaluating that show for thespian excellence). Pacino and Foxx work really well together. The dynamic of the older, worn coach and the young, brash hot-shot quarterback is one that has been explored before, but in the hands of these two actors it seems fresh. It’s impossible to picture the glass-jawed Puff Daddy in this role, which was originally planned. Foxx portrays a bravery but also a sensitivity that Puff Daddy would never have been able to achieve. Stone was smart to cut P-Diddy and go with a real actor.

In addition to the two leads, Dennis Quaid is excellent as the older, more traditional QB, sidelined by injury. LL Cool J, Jim Brown, James Woods, Matthew Modine, and Aaron Eckhardt are all equally effective as various members of the Sharks organization, each with their own personal motivations. NFL Hall of Famer Lawrence Taylor is surprisingly good as an older defensive lineman who constantly skirts serious injury.

In such a testosterone-heavy film it’s surprising to see a strong female lead character: Cameron Diaz plays the young owner of the Sharks as a business savvy woman whose decisions are driven by the bottom line. At times it’s a thankless role, requiring her to play boo-hiss villain to Pacino’s great guy coach, but she plays it well. There seems to be, however, room for only one complex female character. Lauren Holly, Lela Rochon, Elizabeth Berkley, and a soused Ann-Margret seem to have wandered in from another movie and been given nothing to do.

While Stone plays with the notion of a woman owning such a paragon of maleness as a football team, he shows no fear in exploring the racial dynamic presented on a professional team. Early on when Pacino suggests that a nervous Foxx imagine he’s back in the hood giving directions to a friend like “run out to the Buick” there is a strange element of condescension to the parallel. Later, however, when the two men get to know each other better they come to a deeper understanding. Just the fact that Pacino is forced to replace his star white QB with a black player makes a statement. Flava Flav bragged about getting a black quarterback into the Super Bowl on 1988’s It Takes a Nation of Millions to Hold Us Back but movies have traditionally put white players in this leadership position. And what image can be more striking than Cameron Diaz, blonde-haired, blue-eyed cover girl that she is, walking straight into the sweaty locker room of her team and shaking hands with a full-frontally nude black player? Stone challenges the idea of what is permissible in a big Hollywood studio movie and does it with style.

Any Given Sunday never really indicts the football industry too heavily. The football commissioner, played by an embalmed-looking Charlton Heston (he’s everywhere!), seems on the up-and-up putting the kaibosh on a crooked deal before it really blossoms into anything other than a half-baked sub-plot. Everyone whines about how Taylor’s character needs to play because he has four kids to support but no one mentions that he might not have the same financial worries if he spent less time in his jacuzzi with $1000 an hour prostitutes. Ultimately none of this matters since the point is the game. Any Given Sunday ends with a big play-off game, a little too Bad News Bears for a filmmaker as self-aware as Stone but at least it is played out as an epic one with each key player getting a moment to shine. In the end, it’s only the team that matters. Everything else pales in comparison to the glory of the game.

VIDEO:
The anamorphic transfer for Any Given Sunday is excellent. It’s not quite as crisp as, say, the recent Seven release, but those are big shoes to fill. Any Given Sunday is really colorful with lots of reds and yellow, but there is not noticeable bleeding or compression.

AUDIO:
The Dolby Digital 5.1 soundtrack is most prominent during the game sequences. The sound production is pretty layered and bold. The sound drops out entirely at key moments, like right before particularly violent tackles, and the soft-loud dynamic works well.

The film is also filled with a mix of heavy metal, hip-hop, and ambient music (we probably won’t see a movie that follows Trick Daddy with Black Sabbath for a while) and it sounds good. The bass in some of the hip-hop tracks really gives the subwoofer a workout. My only complaint with the music is that too much Moby is used. I like Play as much as the next guy but Stone uses virtually the entire album. What does he think this is, a car commercial?

EXTRAS:
The 2-disc release of Any Given Sunday included in The Oliver Stone Collection boxed set features a large number of extras. The first disc includes the director’s cut of the film (which restores quite a bit of footage), and two audio commentary tracks, one from Stone and one from Foxx. Stone is not the most dynamic speaker and previous commentaries on his more political films were fascinating for his vast store of research and experience, but here he’s less interesting. Foxx gives an uninspired commentary as well, leaving gaps and kissing Stone’s butt. These are commentaries for die-hard fans only. Also included is the trailer.

Disc two includes HBO’s Full Contact behind the scenes piece, a half-hour documentary on the making of the film that is actually pretty good. Pacino doesn’t appear but every other major cast member is interviewed. Some interesting footage is presented of a weird camera rig that got a bug’s eye view of the gridiron action.

Footage of Jamie Foxx’s screen test is pretty silly and doesn’t add much. It’s tough to tell from this video footage what it was in Foxx that Stone was attracted to.

An LL Cool J video and two Jamie Foxx videos are included. Foxx is definitely a better actor than singer.

The DVD-ROM portion includes an interesting feature: An edit suite that allows the user to recut several scenes and also to hear editor Tom Nordberg discuss the process through which he shaped this huge film.

The DVD-ROM also contains some games and web-site content.

FINAL THOUGHTS:
Any Given Sunday is not one of Oliver Stone’s most personal films but, through his use of such a large canvas and smart casting, he has created a pretty satisfying portrait of a uniquely American sport. Football may not be exactly the same as fighting a tiger or dueling to the death, but Stone imbues it with that sort of urgency and, in doing so, makes it larger than life.

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September 19th, 2008 by dvdreview

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Call it Homer’s "Iliad" with Hollywood-ized interpolations, in this mega-budgeted and often magnificently realized epic by Wolfgang Petersen (Air Force One, The Perfect Storm).  With a budget of approximately $185 million, it’s one of the most expensive films ever made, and it shows in every facet of the production, from the lavish sets and costumes, beautifully rendered special effects, and thousands of movie extras.  It’s a timeless tale, well worth being made into a grand film, and with an impressive cast and Petersen’s competent skills, Troy does loosely recreate the scope and vision of Homer’s original poem with one near fatal exception — the dialogue stinks.

The setting in 1193 BC, when a Trojan prince named Paris (Bloom, The Lord of the Rings) bedded and stole away the beautiful Spartan queen, Helen (Kruger).  Outraged, Spartan king Menelaus (Gleeson, Gangs of New York) vows to retrieve her back at any cost, forming an alliance with his brother, Agamemnon (Cox, X2), the power-hungry king of newly united Mycenae.  50,000 Greek soldiers travel by ship to lay siege to Troy, among them the fabled mighty warrior Achilles (Pitt, Spy Game), a rogue spirit who thirsts for fame while his loyalty to Greece is always in question.  Sacking Troy won’t be easy, as it lays well-ensconced behind impenetrable walls, with an army of fine fighters led by the equally skilled Trojan prince, Hector (Bana, The Hulk).  

As someone who has read Homer’s "The Iliad" several times while pursuing my degree in Classics, I’ll have to warn some of you lazy students out there not to watch this movie as a way to skip having to read the lengthy epic poem.  The main backbone of the film and the poem are basically the same, but creative license is taken in so many ways, one can only view Troy as inspired by, rather than an adaptation of, Homer’s great masterwork.  The most notable alteration comes from the excising of the Gods, who play a very pivotal role in Homer’s depiction of the events.  Petersen saw their inclusion as an unnecessary distraction, so they are referred to, but never shown.  Instead, the amazing feats are carried out because the mortals are drawn to be larger than life, god-like in their abilities and powers.  In addition, there are minor characters who are fleshed out more and some significantly less, while the war itself, which took ten years, merely takes weeks here, concentrating more on Achilles and Hector, while the rest of the characters are set up merely to support their stories.  There is also closure to the war that wasn’t provided in "The Iliad", while some characters who definitely survived the war, end up getting killed off for dramatic effect.

Technically speaking, Troy is a marvel of sight and sound.  From the cinematography to the costumes, everything is rich, making this a film worthy of a look if just to see a fantastical recreation of an idealized Ancient Greece.  This is a big-time production all of the way, the very embodiment of epic filmmaking that is beyond storytelling — it is meant to dazzle and amaze.  On that scale, Petersen succeeds in making the siege of Troy feel like a cataclysmic event, and the larger-than-life staging gives everything the weight worthy of a story of this magnitude.  The rousing score by James Horner (Titanic, Braveheart) perfectly accentuates each scene, and with a story proven to have stood resonant over the ages, this would seem a can’t miss classic.

Sadly, the level of the writing by 25th Hour’s David Benioff is not of the stuff befitting a legend.  True, this is an oft-told and old-fashioned tale, and by today’s standards, Homer’s writing style might seem primitive, but that’s no excuse for some of the shoddiest, most trite lines heard in a movie of this type.  Everything is kept at a very basic level, with dialogue and confrontations that aren’t much better than that found while watching a WWE Main Event.  I literally winced at some of the laughable lines like "I want to place two coins on his eyes for the boatman", "Immortality!  Take it, it’s yours!",  "Troy is the mother of us all!  Fight for her!" or when Achilles rides up to the walls of Troy shouting, "HECTORRRRRRR!!"  Moments like this should be gripping — instead, they elicit little more than a smirk.  No poetry, no pith, no poignancy and no depth — just boring comic-book angst and cartoonish characterizations.

Troy does manage to be worthwhile viewing for fans of the main players, who are literally within centimeters from showing full frontal nudity in many scenes.  There’s also a good deal of violent confrontations, with some of them being riveting given the context of the situations at the time.  It’s a beautiful looking film, so vibrant in scope and appeal that it does manage to provide solid escapist fare for its almost three-hour duration.  A great film had almost been in the making, if only the writing hadn’t ultimately proven to be the Achilles heel. 

Qwipster’s rating:
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Boogeyman avi movie

September 19th, 2008 by dvdreview

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Other than inspiring unintended thoughts of K.C. and the Sunshine Band (”I’m your boogie man, I’m your boogie man/Turn me on/I’m your boogie man, I’m your boogie man/Do what you want”), the new horror movie “Boogeyman” has little to offer in the way of entertainment or originality. From producers Sam Raimi and Rob Tapert, who Americanized “The Grudge,” the film is the latest entry in the fright genre to dodge bad reviews and still manage to open at the top of the weekend box office. Can you imagine how much money one of these things would make if it were actually any good? ADVERTISEMENT Barry Watson, late of “Sorority Boys” and TV’s “7th Heaven,” plays an associate magazine editor plagued by memories of a horrific childhood event. As an 8-year-old, little Timmy witnesses his dad being dragged off into his bedroom closet by the title character. Fifteen years of psychiatric treatment have convinced him that what he thinks he saw was his way of dealing with his father’s abandonment of the family. All grown up and more than a little twitchy, Tim naturally has issues with closets. Asked by his high-maintenance WASP-y girlfriend, Jessica (Tory Mussett), to retrieve her coat at a party, he stands frozen before a dark opening, unable to retrieve the garment. In fact, his apartment is a monument to his fear of anything with doors with its glass-fronted refrigerator and kitchen cupboards with their doors removed. When Tim’s mother (unrecognizable Lucy Lawless) dies suddenly, he returns home for the funeral and decides to spend a fateful night in the family home. A series of freakish occurrences, including an encounter with a spooky little girl named Franny (Skye McCole Bartusiak), fail to give him pause, and in horror movie tradition he proceeds with his plan to face his demons anyway. Director Stephen Kay employs the darting shadows familiar to anyone who has seen “The Grudge,” as well as an assortment of overly familiar jump cuts and shock zooms to give the audience a handful of scares. The script, however, includes listless stretches of atmospheric build-up that succeed only as smokescreen for exposition of the back story. If you were to toss elements of “The Sixth Sense,” “The Exorcist” and “Nightmare on Elm Street” into a blender and hit puree, you might get something resembling this pulpy nonsense. Fright fans expecting anything more than the occasional jolt will be sorely disappointed. Boogeyman MPAA rating: PG-13 for intense sequences of horror and terror/violence, and some partial nudity Times guidelines: Very low gore factor Barry Watson…Tim Emily Deschanel…Kate Skye McCole Bartusiak…Franny Tory Mussett…Jessica Lucy Lawless…Tim’s mother Sam Raimi and Screen Gems present, in association with Senator International, a Ghost Hopuse Pictures production. Director Stephen Kay. Producers Sam Raimi, Rob Tapert. Executive producers Joe Drake, Nathan Kahane, Carsten Lorenz, Steve Hein, Gary Bryman. Screenplay by Eric Kripke and Juliet Snowden & Stiles White, story by Eric Kripke. Director of photography Bobby Bukowski. Editor John Axelrad. Costume designer Jane Holland. Music Joseph LoDuca. Production designer Robert Gillies. Running time: 1 hour, 26 minutes. In general release.
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Charlie and the Chocolate Factory full length movies

September 18th, 2008 by dvdreview

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The Movie:
Roald Dahl’s 1964 children’s book had already been adapted into a feature film once before in 1971 (retitled Willy Wonka & the Chocolate Factory), to results that delighted both children and adults. When Tim Burton announced his 2005 remake/re-adaptation, many fans were upset at his audacity. How dare he defile such a beloved classic? The plan, the director claimed, was not to remake the previous film (one that he never cared for) at all, but rather to return to the original text and adapt it from scratch. Burton has made a career out of “reimagining” famous literary and cinematic properties by putting his own unique spin on them, sometimes to good effect (Sleepy Hollow) and sometimes decidedly not (Planet of the Apes), so some trepidation was only natural. Fortunately, in this case the pairing of Dahl’s subversive wit with Burton’s warped visual sensibilities turned out to be a nearly ideal match.

In this new Charlie and the Chocolate Factory, frequent Burton collaborator Johnny Depp takes over the role of Willy Wonka, the eccentric chocolatier who hosts a most remarkable contest. Hidden in the latest batch of his famous Wonka Bars will be five Golden Tickets granting access to an exclusive tour of his fabulous candy factory. As before, the winning children include gluttonous Augustus Gloop, spoiled Veruca Salt, rude Violet Beauregarde, and obnoxious Mike Teavee (here slightly updated to a video game rather than just television addict). It seems the only of the winners not a miserable brat is our hero Charlie Bucket (played with intelligence by Depp’s Finding Neverland costar Freddie Highmore), an underprivileged boy whose only luxury in life is the one Wonka Bar his family can afford to buy him each year. Inside the factory, the children will be overwhelmed with many fantastic sights and sensations. One of them, Wonka announces, will also win a grand prize to be revealed later. Can you guess which one?

A significantly larger budgeted production than the 1971 film, Burton turns this Chocolate Factory into a digital playground filled with all manner of whiz bang visual effects in the service of his signature surreal style. Although the screenplay is in some ways a more faithful adaptation of Dahl’s text (and some ways not), the director adds plenty of his own unique touches. The result is both true to the writer’s intent and distinctly a Tim Burton film. Among the notable changes since the last movie are the addition of new backstories for Charlie’s father, Grandpa Joe, and Wonka himself which help to flesh out their characters. The new film is also more effectively structured to layer in fantasy elements from the very beginning (Charlie’s house is practically lifted out of a German Expressionist silent) rather than an abrupt transition halfway through as happened previously.

Most dramatically, the character of Willy Wonka has been significantly changed. As portrayed by Gene Wilder, the candy maker was odd but also rather conniving and sometimes mean-spirited. He was always cognizant of his surroundings and had manipulated events to his intended purpose. Depp’s version of Wonka, on the other hand, is almost completely daft, a hilarious mess of neurotic tics and childish pettiness. The actor claims he based on performance on a mixture of children’s television hosts, Howard Hughes, and ’70s glam rockers. All of that may be true, but I expect most viewers will see the resemblance to Michael Jackson. To be fair, it’s my theory that Jackson designed his life on Willy Wonka first.

Practically stealing the movie from right under Depp are the Oompa Loompas, now all played by Deep Roy, one actor digitally replicated several hundred times over. In the prior film the Oompa Loompas were essentially faceless slave labor, but here they’re very distinct, quirky characters who underline each scene with a lot of humor and personality. Their songs, written and performed by Danny Elfman at his Oingo Boingo best, play with a variety of catchy beats in parody of several musical genres.

Did Willy Wonka really need to be remade? Perhaps not, but then again it had been 30 years and what’s the harm in taking a fresh perspective? For some reason, no one seems to have much of a problem when a theatrical play is revived with a new cast and direction, but heaven forbid you should remake a movie that someone once liked. Tim Burton’s new Charlie and the Chocolate Factory may not necessarily replace the Gene Wilder version in the minds of all fans, but it makes a surprisingly worthy addendum to it.

The HD DVD:
Charlie and the Chocolate Factory debuts on the HD DVD format courtesy of Warner Home Video.

HD DVD discs are only playable in a compatible HD DVD player. They will not function in a standard DVD player or in a Blu-Ray player. Please note that the star rating scales for video and audio are relative to other High Definition disc content, not to traditional DVD.

Video:
The Charlie and the Chocolate Factory HD DVD is encoded on disc in High Definition 1080p format using VC-1 compression. The movie’s theatrical 1.85:1 aspect ratio has been slightly opened up to fill a 16:9 frame with negligible impact to the composition.

I expected a lot from this movie’s High Definition transfer but found it rather disappointing. The picture is soft upon soft upon soft, distractingly so. Detail and texture are only fair even in the best scenes. I will concede that this is at least partly, if not mainly, inherent to the movie’s style. I remember it looking similar when I saw the film theatrically, but at the time assumed that the theater was projecting it out of focus. It’s also obvious in a number of scenes that certain characters’ faces have been digitally smoothened to give them a waxy sheen. I don’t necessarily have a problem with that. I find it harder to believe, however, that even the opening credits and all on-screen text are meant to look so soft and dull. It appears that the entire image was digitally filtered after-the-fact. Artistic intent is one thing, but the picture here is just so processed and flat that I can’t understand any reasonable sense for it.

It’s a shame, because the phantasmagoric colors on this disc are really wonderful. Rich, vibrant, and deep, they leap off the screen in ways that I wish the rest of the picture did. Contrasts and black level are a little light; if not necessarily objectionable, this does contribute to the overall sense of flatness. Film grain is visible in many scenes, which is frankly surprising considering how filtered, processed, and digitally tweaked everything is.

The Charlie and the Chocolate Factory HD DVD is not flagged with an Image Constraint Token and will play in full High Definition quality over an HD DVD player’s analog Component Video outputs.

Audio:
The movie’s soundtrack is provided in Dolby Digital Plus 5.1 format. For some reason, the disc producers chose to also include a music-only track in lossless Dolby TrueHD format, but not one for the main soundtrack itself.

On the DD+ mix, Danny Elfman’s score and songs fill the soundstage with expansive presence and dynamic range. Intelligibility of his song lyrics comes across better than the theater where I first saw the film, but are still a little obscure. The sound design incorporates many wacky sound effects and an immersive surround presence, which are all very satisfying. There’s a bit of room for improvement in fidelity, however, and I wish a lossless TrueHD track could have been provided for the entire soundtrack rather than just the music-only feature.

Subs & Dubs:
Optional subtitles – English, English captions for the hearing impaired, French, or Spanish.
Alternate language tracks - N/A

Extras:
The disc automatically opens with a lengthy HD DVD promo that can fortunately be skipped but is a nuisance. The interactive menus are accompanied by annoying clicking sound effects for every selection that can be turned off if you desire (and I recommend it). Most of the bonus features on this HD DVD title are recycled from the DVD edition and are presented in Standard Definition video with MPEG2 compression.

All of the important supplements from the 2-disc Deluxe Edition DVD have carried over. Although most of the featurettes are short, they’re surprisingly informative and worthwhile.

  • Chocolate Dreams (7 min.) – An overview of Burton’s vision for the film. Interesting to learn is that the project was in development long before the director was brought on. Roald Dahl’s widow is an executive producer and claims to be quite happy with the finished product (Dahl himself disliked the older movie).
  • Different Faces, Different Flavors (11 min.) – Discussion of the casting for the picture. This is primarily a big love fest for Johnny Depp, but also emphasizes the importance of finding the right children.
  • Designer Chocolate (10 min.) – A look at the movie’s elaborate production design and costumes.
  • Under the Wrapper (7 min.) – Analysis of the visual effects, both practical (quite a few miniatures were used) and CG.
  • Sweet Sounds (7 min.) – Danny Elfman describes in entertaining fashion the development of his songs.
  • Becoming Oompa Loompa (7 min.) – A peek at how Deep Roy was multiplied into hundreds of characters. The amount of work required to achieve a convincing effect is a testament to the actor’s dedication. Surprisingly, we learn that in addition to the digital replication a number of animatronic Loompas were also used on set.
  • Attack of the Squirrels (10 min.) – The production’s animal trainers discuss the extraordinary lengths they went to in preparing the film’s weirdest set-piece. A squirrel requires approximately two thousand repetitions of an action to learn it. Animatronic and digital squirrels were also incorporated into the sequence.
  • The Fantastic Mr. Dahl (18 min.) – A biography of the author originally produced for the BBC.
  • Pre-vis Augustus Gloop Dance (2 min.) – Footage from the rough CG animated staging of the first musical number.
  • Pre-vis Mike Teevee Dance (2 min.) – Similar to the above, but with some actor rehearsal footage mixed in.
  • Club Reel (3 min.) – A pointless dance remix video that was distributed to clubs in Europe.
  • Theatrical Trailer (2 min.)

Missing from the DVD are some interactive games and DVD-Rom content. None are significant losses. New to the HD DVD are:

  • Audio Commentary - For some reason this track didn’t make the cut for the DVD, so we’re hearing it for the first time here. Unfortunately, to say that this is one of Tim Burton’s better commentaries isn’t much of a compliment. He seems to be a little more collected and prepared than usual, but the track still has too many lengthy gaps of silence.
  • In-Movie Experience - Subtitled “Television Chocolate”, this implementation of the IME feature consists of pop-up trivia, interviews, and behind-the-scenes footage overlayed onto the screen while the movie plays. Like most of Warner’s other IME tracks, content here is sometimes frustratingly spotty. Unfortunately, this disc has not been mastered with the ability to skip around to each new piece using the Left and Right arrow buttons on the remote, as was available on the Terminator 3 HD DVD for example.
  • Music-only Track - Danny Elfman’s music and songs have been isolated in lossless Dolby TrueHD quality. Personally, I’d have preferred the movie’s main soundtrack to get this treatment instead.

Final Thoughts:
Call it a remake, a re-adaptation, or whatever you choose, Tim Burton’s re-envisioning of Charlie and the Chocolate Factory is great fun and stands up very well along side its predecessor. I found the High Definition picture quality disappointing, and the choice of providing a music-only track in Dolby TrueHD quality but not the main soundtrack perplexing, but this HD DVD has a good selection of bonus features and rates a worthy recommendation.

Related Articles:
Finding Neverland (HD DVD)
Sleepy Hollow (HD DVD)
Tim Burton’s Corpse Bride (Blu-ray)
Willy Wonka & the Chocolate Factory (HD DVD)
HD Review Index
High-Def Revolution – DVDTalk’s HD Column
Toshiba HD-A1 HD DVD Player

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downloaded Alexander movie

September 18th, 2008 by dvdreview

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Oliver Stone’s work of love, Alexander, is an epic story, and I have to compare it to’Troy’ and say that the latter is a much better movie, with richer characters, and though some people complained that Troy avoided the bisexuality of the men in those times (specially in the movie’ hero Achilles), Alexander is over packed with it, taking it to a point where is actually laughable

Alexander The Great is played by Colin Farrell in an excellent performance that surpasses his work in this year’s, and also gay themed, ‘A Home at the End of the World’, only because of Alexander’s massiveness. And also about that movie, where they decided to cut the scene where Colin’s dick is shown, they show it here, in the shadows but they do, though there’s a much longer scene of nudity which I’ll discuss later.

Angelina Jolie plays Alexander’s mother Olympias. She wants the best for Alexander, which is of course the kingdom, and she’ll do whatever for Alexander to get it, even if she ends up being hated by him. Angelina looks beautiful, she’s not old enough to play a 20 year old’s mother yet, but it really didn’t bother me. She was good at it, except for her accent which took me a while to get comfortable with.

King Philip II of Macedon, and Alexander’s father (though not his birth father) is portrayed by Val Kilmer in a very good performance. He’s got a few great scenes of rage and drunkenness, and his eye (or lack of it) also takes a while to get comfortable with, and in close ups you can’t take your eyes out of it, but it doesn’t hurt the character either which is a good character.

Anthony Hopkins gets top billing in the movie but his part is very small. He plays Ptolemy in his older days (he was one of Alexander’s companions), and he narrates the story.

The we have the two loves of Alexander’s life, and I’m not talking about his mother and father, nor about his child, cause he didn’t have any (well, he did have one, but he never met him cause the child was born after Alexander’s death), I’m talking about his wife Roxane, a dancer he fell in love with while in Persia, and his friend Hephaistion who was the person who he loved the most.

Roxane is played by Rosario Dawson in an ok performance. She doesn’t have much to do except to get naked, and we get a full nude from her. Didn’t know she had such huge tits.Jared Leto plays Hephaistion, and his performance is very good.

My problems with the movie are a few, starting with the whole bisexuality issue, because it really was too much. The way Alexander and Hephaistion looked at each other all the time had a gay way to it, and don’t get me started with Alexander’s not love of his life but sexual partner, the bathing boy. When Alexander and the whole group goes into the Persian Harem, the place it’s full of women, and Alexander, being the King, gets first choice, but his eyes are not with the women, but with this guy that is later going to bathe him.

And all the other guys kiss every now and then too, and at the parties there are old guys spanking the younger ones, etc. Stone really went too far with it cause while it was true, it happened, he spent too much time showing it.

My other complain is the editing, and not the way the story went back and forth in the years, but specifically during the battles. The first one is also very similar to the Battle of Pelennor Fields in the Lord of the Rings: Return of the King in magnitude and style, only that more dirtier, but bad edited and choreographed. The second battle, which happens in the woods, is better but still has editing problems. Both battles have a very good deal of gore though.

Colin’s work here is really Oscar worthy, it’d be great if he gets nominated, as well as Oliver Stone for his direction, because I don’t think the movie will.

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watch full length Little Nicky movies

September 18th, 2008 by dvdreview

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Little Nicky Reviewed By clark Posted 11/13/00 14:19:27

"Funny as Hell!!! get it, hell? hahahaha!" (Awesome)

This movie is for fans of the Happy Gilmore/Waterboy Adam Sandler fans as oppossed to Big Daddy Sandler fans. Either way, go see it.Little Nicky(Sandler) is the son of the Devil(Keitel). His two older brothers(Tiny Lister and Rhys Ifans in his breakout role, or was it Notting Hill? don’t know-didnt see it) go up to earth, cause havok and Nicky is sent up to return them. On earth he falls in love and teams up with a fey actor, two heavy metal satanists and a talking dog.This movie has cameos galore all well done. SNL stars and alumni abound, along with the Harlem Globetrotters, Reese Witherspoon looking to die for as an angel, Ozzy Osbourne and Carl Weathers(Chubs!) Try to pay attention cuz there are lots of quick jokes and sight gags you might miss.So, go see it. If im wrong and you don’t like it… tough.
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