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Stateside is closely based on the life of Reverge Anselmo, the film’s writer and director. Anselmo’s analogue is Mark Deloach (Jonathan Tucker), a high schooler who’s grown up in privilege and is accustomed to shrugging off responsibility. That all changes when an alcohol-fueled prank goes awry, disfiguring one classmate and paralyzing someone else. Mark’s father (Joe Mantegna) wields enough influence to keep him out of prison, but he doesn’t exactly have a Get Out of Jail Free card forked over to him. Mark has to enlist in the Marines, but before he’s shipped off to boot camp, he stops to apologize to Sue (Agnes Bruckner), the classmate who was injured in the accident. While at the hospital, he meets cute with Dori Lawrence (Rachael Leigh Cook), a schizophrenic actress-musician prone to prattling on about chatty Jell-O ingredients and transvestites poking around the monkey bars. That encounter sticks with Mark as his drill instructor (Val Kilmer) shapes him into both a man and a marine, eventually helping him muster the nerve to ask Dori out. The two quickly fall head over heels for one another, but it’s an unhealthy relationship — Mark’s unable to stay in one place for more than a couple of days at a time, and his constant coming and going is such a distraction for Dori that her sickness gets progressively worse.

The crux of Stateside is a relationship that’s equal parts sugary sweet and self-destructive. It’s a welcome change to see an “us against the world” romance where the world is right in trying to keep the lovers apart, but that’s the only particularly interesting thing about this melodrama. As frequently as I’m told that these two people are very much in love, I never really felt it. Part of the blame can be placed on Jonathan Tucker, whose wooden, detached performance is kind of surprising for an established actor with such a sizeable filmography. It’s hard for me to relate to a character whose chief interest in someone is to have a pen pal with girl parts. The dialogue doesn’t have any sort of natural flow, sounding like it’s being read from a screenplay, and one that thinks it’s more poetic and insightful than it really is. The early ’80s etting is squandered — if not for the constant screenings of The Evil Dead and a mention of Lebanon, it could’ve just as easily taken place anytime between the ’50s and last Thursday. It seems to be set in that time not because the movie requires it, but as part of an attempt to duplicate director Reverge Anselmo’s life as much as possible. Those stabs at authenticism at all costs hurt the movie — characters and subplots are briefly introduced, quickly forgotten, and sporadically revived, many of which have no bearing on the movie as a whole. That’s the downside of shooting a movie so intensely personal to the person pulling the strings. Many people have a tendency to pile on too many tangential details when telling their own stories, and without anyone else to filter it through, every last detail seems more integral than it may actually be. I’m going to venture a guess that there was a lot of this sort of footage to wade through in post-production, which could be why the editing seems kind of incoherent. Stateside relates the facts but doesn’t make much of a story out of them, and the movie never manages to be truly engaging. The biggest response it got from me was flinching at some of the brief bits of violence, but I didn’t feel drawn into any of the various subplots the movie weaves. The closest I came was the lengthy boot camp sequence with Val Kilmer as a drill sergeant, in part because of the intense torment he inflicts (most memorably one involving a stapler and one not involving a gas mask) and because his dialogue is so odd and unconvincing. Would a stern drill instructor take a moment and wistfully describe his homelife to a group of people who are, at least for another day or two, still scum-slurping maggots? Stateside attempts to incorporate many different tones and sidestories, but none of them gel. With so many elements at hand, it probably would’ve been possible to draw a good movie out of them somewhere, but the decidedly uninteresting Stateside doesn’t pull it off.

Video: The 2.35:1 anamorphic widescreen video is decent but below average. A couple of backgrounds with solid colors take on a noisy appearance, and the image often looks oversharpened with some ringing occasionally evident. A number of edges and patterns are prone to aliasing and distortion, and the source material is surprisingly speckled as it nears its final moments. Black levels are rock solid, but the movie’s odd palette is tougher to gauge — some sections look oversaturated, and the appearance of fleshtones varies wildly throughout. The DVD is certainly watchable, but this disc doesn’t stack up particularly well next to what most companies are putting out these days.

Audio: The DVD defaults to stereo, so if you have a multichannel rig, hit up the ‘Audio Setup’ menu before starting the movie. The Dolby Digital 5.1 mix is fairly timid — even when the nostalgic soundtrack kicks in or Dori’s band takes the stage, there’s no real punch or strength to the audio. The track sticks mostly to the front channels, and though some scattered ambient effects and music leak into the rears, the surrounds mostly lie dormant. The subwoofer is also infrequently used to any great effect, with a little bit of a thump coaxed from it from some songs and a bit of gunfire. The 5.1 audio is encoded at the oddball bitrate of 320Kbps, which I don’t think I’ve ever seen before. The DVD offers Spanish subtitles and is not closed captioned.

Supplements: Considering that this movie is such an intensely personal project for writer/director Reverge Anselmo, not to mention the fact that he co-owns the label that’s putting out this DVD, it’s not surprising that he contributed quite a few extras. First up is an audio commentary with Anselmo, who’s joined by Jonathan Tucker, Rachael Leigh Cook, Agnes Bruckner, and Daniel Franzese. It’s a very chatty discussion, and it’s clear that all five of these people really enjoyed working with each other and feel strongly about the movie. There’s a lot of laughing and rattling off of random stories, but it doesn’t make enough of an impression for me to slap a label on it like informative, funny, vapid, or anything else in particular. I feel completely indifferent towards it, not having nearly as much fun listening to this track as the five of them clearly had recording it. Some of the topics covered include Ed Begley Jr. making a four-day cross-country juice binge in his Prius, excised cat conversations, Rachael Leigh Cook’s granny panties, griping about an embarrassingly out-of-sync coffee shop performance, and their collective shock that Begley was underwhelmed with the finished product.

The DVD includes three sets of interviews, with “Premiere Party” capturing comments on the red carpet, the less ambiguously titled “Cast Interviews” catching several actors during some downtime on the set, and “Behind the Scenes”…doing the same? Each set runs around nine or ten minutes, interspersing vertically elongated clips from the film throughout. Those interviews frequently have an EPK soundbite quality to them, but director Anselmo gets a chance to offer something more substantial in eight minutes of footage from a moderated discussion after a screening at USC. There’s also a nine and a half minute chat about the grueling boot camp some of the actors endured, featuring comments from people on both sides of the torment. Also piled on are previews for Close Your Eyes, The Healer, and Mayor of the Sunset Strip. The DVD sports a set of 4×3 animated menus and twelve chapter stops, and a sizeable press kit is tucked inside the keepcase.

Conclusion: Stateside is a jumbled mess of a movie, and the uninspired acting and direction are unable to elevate the muddled material. I don’t want to give the impression that this is some sort of horrific, unwatchable movie, but with tens of thousands of DVDs out there to choose from, something as merely okay as Stateside is difficult to recommend. Worth a rental if you’re intrigued, but I wouldn’t suggest it as a purchase sight-unseen.
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The Movie

So very much has been written – voluminous critical ramblings – about Francis Ford Coppola’s 1979 masterpiece Apocalypse Now that is almost seems superfluous to say anything further. One of the most discussed, dissected and debated films of the last 25 years, Coppola’s surreal, vivid meditation on the Vietnam War is as impenetrable and masterful in 2006 as it was upon its initial release, when Coppola infamously declared his film not merely about Vietnam, but, in fact, the very celluloid incarnation of that conflict. No mere statement of hubris that – aside from a handful of other, equally powerful cinematic works (The Deer Hunter, Platoon and Full Metal Jacket spring to mind), no other movie created in the wake of America’s devastating losses in Southeast Asia seems to perfectly capture the lysergic dysfunction, moral drift and hollow madness of what remains one of this country’s deepest and most profound psychic wounds.

Episodic in nature and grimly nihilistic in tone, Coppola’s command of mood is breathtaking throughout both the original, theatrical cut and the extended 2001 version; loosely basing his film on Joseph Conrad’s classic “Heart of Darkness,” the writer/director builds the deceptively simple tale of Captain Willard (Martin Sheen) and his mission: travel upriver, deep into the Cambodian jungle, find a remote military outpost and terminate the renegade Colonel Kurtz (Marlon Brando), “with extreme prejudice.” On paper, it seems like your traditional war movie, but on screen, it is anything but. Startling cinematography by acclaimed lensman Vittorio Storaro captures the savage beauty of the jungle (the Philippines standing in for Vietnam and Cambodia) while Coppola’s oblique, dense language works on an almost operatic level. There’s not a war film before or since as drunk on the meaning of language as Apocalypse Now - a particularly choice irony, since much of the film’s final third seems suffuse with insane ramblings and the climax fairly transpires in silence.

While seemingly effortless in its grandeur onscreen, Apocalypse Now was a legendarily difficult shoot, lasting some 16 months and costing Coppola millions of dollars of his own money. From typhoons to heart attacks to narrative uncertainty (original screenwriter John Milius’ fantastical, blockbuster finish was scrapped early on by Coppola), Apocalypse Now, by all rights, shouldn’t have even made it out of the Philippine jungle intact, let alone go on to win the Palm d’Or at Cannes in 1979 or its pair of Oscars in 1980. Apocalypse Now retains the power to captivate and disturb some three decades later and of course, there are no shortage of sequences that have since worked their way into the pop culture lexicon. Coppola arguably made his last true masterpiece with this film, closing out the Seventies – the “film school” decade – with a surreal, psychedelic exploration of man’s interior madness, his own, inescapable heart of darkness.

It’s no secret that fans have clamored for a thorough DVD edition of Apocalypse Now ever since the medium was born. “The Complete Dossier” boasts some extremely attractive packaging – housed in a manila slipcover that features a “seal” hiding a velcro closure, the embossed digipack folds out to reveal the two discs, with quotes from the film and a list of the bonus features adorning each panel. The 1979 and 2001 editions of the film are split across the two discs, with special features on each disc. When it’s all put together, it looks quite handsome.

The DVD

The Video:

After careful scene-specific comparisons of all three DVD incarnations of Apocalypse Now, I can’t discern any truly striking difference in quality between the trio of anamorphic widescreen transfers (yes, I know - it’s been “cropped” to a 2.0:1 ratio; fret not purists, as this home video controversy is addressed in the extras). Both the theatrical and “Redux” cuts look magnificent, with deep, rich blacks, crisp delineation and eye-popping, opulent colors. Storaro’s sumptuous visuals look appropriately vivid here; it’s a satisfyingly lush representation for both cuts (although “Redux” has a slight edge in terms of color saturation). **AMENDED 7/30/06: Despite my not noticing any drastic visual changes from the first DVD, per a note from DVD producer Kim Aubry, this edition features a higher bit rate transfer and better encoding.

The Audio:

As one of the first films to make use of the then-new 70mm Dolby Stereo surround sound system, the aural experience of Coppola’s film has always been vitally important. It’s little wonder then that both Apocalypse Now and Apocalypse Now Redux sport wonderfully immersive Dolby Digital 5.1 soundtracks. Redux sounds slightly sharper and more present than the theatrical cut, but it’s really quibbling to find problems with either one of these tracks. Both are superb, near-flawless audio tracks that are key to appreciating Apocalypse Now to its fullest extent. The French Dolby 2.0 stereo track from the first DVD has not been ported over, however, optional English and Spanish subtitles are included.

The Extras:

Apocalypse Now has been released twice previously on DVD. In 1999, Paramount issued the 1979 theatrical version, including only the theatrical trailer and a few minutes of footage featuring the destruction of Kurtz’s compound overlaid with brief commentary from Coppola. The second iteration, Apocalypse Now Redux, arrived on DVD in late 2001, sporting only the film’s re-release trailer and an insert denoting newly added footage. It should be noted that this third release, “The Complete Dossier,” does not include the compound destruction footage, the theatrical trailer or the re-release trailer, so Apocalypse Now completists will want to hang onto those first two DVDs.

But what is here? Plenty, all of which was lovingly assembled by producer Kim Aubry – the main objective of the supplemental material seems to be two-fold: demystify one of Hollywood’s most legendarily mythic creations and also, rightfully trumpet Apocalypse Now as a cinematic technological watershed, with its dense, complicated sound design and reliance upon multi-channel stereo sound. The bonus features accomplish both tasks admirably, tearing down the veil of mystery surrounding Apocalypse Now, while providing genuinely interesting information about its technical achievements.

The main attraction here is Francis Ford Coppola’s involving, candid and revealing commentary track; it’s an absolute joy to listen to Papa Coppola hold forth, with hardly a moment’s pause, about a film he’s palpably quite proud of. The theatrical cut is preceded by a two minute, 50 second intro from Coppola (filmed, interestingly enough, on the set of his latest film, Youth Without Youth), in which he explains how he came to the project. It’s slightly misleading how his commentary is being billed as a track for each film, since his “Redux” commentary is the exact same track for Apocalypse Now, but with “Redux”-specific anecdotes seamlessly spliced in (a la Billy Bob Thornton’s recent Sling Blade: Director’s Cut commentary). Nevertheless, it’s a fascinating listen and should be required for any fan of the film. The “Redux” cut is preceded by a four minute Coppola introduction and in lieu of an insert denoting new footage, a small onscreen icon appears (when selected beforehand) when viewing “Redux,” alerting you to reinstated scenes/sequences.

Also available on the first disc is the complete, 17-minute Marlon Brando reading of T.S. Eliot’s “The Hollow Men,” heard only briefly in the finished film; Brando’s recitation is heard over a montage of outtake scenes. The three-minute “Monkey Sampan” scene (which I’d never heard of prior to watching this set) is a bizarre, gruesome moment from the film, which seems to have been snipped from the sequence when the PBR sails underneath the downed B-52 tail. It’s odd, but easily lost.

The 12 “Additional Scenes” included here are worth the price of admission alone, as they reveal sequences that have been only imagined for those unable to track down a bootleg of the infamous 5 1/2-hour workprint. Below, you’ll find brief descriptions of each; all 12 scenes are presented in non-anamorphic, time-coded widescreen, clearly taken from a VHS source, only playable separately and are helpfully subtitled in English:

–”Saigon Streetlife” (45 seconds): Exactly what the title says – Coppola alludes to this footage in his commentary track fairly early on.
–”Military Intelligence Escorts” (42 seconds): The two soldiers who claim Willard from his room and escort him to Nha Trang give him a quick shave and discuss business.
–”Intelligence Briefing (Extension 1)” (two minutes, 15 seconds): Essentially the same sequence as in the finished film, but intercut with scenes of everyday life on the base.
–”Intelligence Briefing (Extension 2)” (three minutes, 15 seconds): As above, this is essentially the same sequence as in the finished film, but intercut with scenes of everyday life on the base.
–”Willard Meets the PBR Crew” (one minute, two seconds): This scene has a very old Hollywood feel, as Willard is introduced to each member of the boat’s crew.
–”Letter From Mrs. Kurtz” (one minute, 26 seconds): Willard reads aloud a letter from Kurtz’s wife; this scene smacks a little of artistic pretension.
–”Booby Trap” (51 seconds): A quick but startling sequence finds Lance trying to retrieve a toy boat and Chief taking care of business.
–”Do Lung … ‘That road is open’” (55 seconds): Basically an alternate, slightly longer take of the beginning of the Do Lung Bridge sequence.
–”Photojournalist” (two minutes, 28 seconds): Functioning almost as an introductory monologue for Dennis Hopper’s photojournalist character, this is a longer take than what appears in the final film version.
–”Colby” (one minute, 33 seconds): One of the more legendary “disappeared” characters in Apocalypse Now, two of the final three deleted scenes here constitute what appears to be the bulk of the narrative which deals with Scott Glenn’s character, Colby. This scene finds Willard meeting the mysterious Colby, who helps explain the presence of so many bodies around Kurtz’s compound.
–”The Tiger Cages” (four minutes, 29 seconds): Kurtz and Willard share a much longer exchange while Willard is held captive in his bamboo prison and young children dangle dead insects in his face; portions of this appear in the final film.
–”Special Forces Knife” (six minutes, 34 seconds): The meatiest deleted scene explains what happens to both Colby and the photojournalist; Willard watches as Colby kills the photojournalist, only to be stabbed to death by Willard and a helpfully recovered weapon.

The “A/V Club” section details the painstaking post-production process, outlining the exhaustive months of work that went into fine-tuning Apocalypse Now. The six-minute featurette “The Birth of 5.1 Sound” is presented in anamorphic widescreen and includes Dolby Labs’ Ioan Allen explaining how now-industry standard 5.1 sound had its genesis around the time that Apocalypse Now was in post-production. The three minute, 50 second “Ghost Helicopter Flyover” is presented in anamorphic widescreen and is a brief, fascinating demonstration of how filmmakers created the opening sequence. Bob Moog’s article, “Apocalypse Now: The Synthesizer Soundtrack,” is presented as a textual supplement, with the six question “Technical FAQ” rounding out the first disc (I won’t reveal the questions, but suffice to say, a lot of Web-based grousing will be laid to rest, however temporarily, by the answers provided here).

The second disc contains the conclusions of both cuts, as well as the remainder of Coppola’s commentary. The special features also continue onto the second disc; “The Post Production of Apocalypse Now” is a multi-part documentary, presented in anamorphic widescreen and delving deeply into the epic editing process – viewable separately or together, the 17 minute, 54 second “A Million Feet of Film: The Editing of Apocalypse Now” reveals the exhaustive process, speaking with many of the principal characters. The 14 minute, 43 second “The Music of Apocalypse Now” covers precisely that and under the heading “Heard Any Good Movies Lately?,” you’ll find two more featurettes: the 15 minute, 19 second “The Sound Design of Apocalypse Now” and the three minute, seven second “The Final Mix.”

The four minute, 10 second, non-anamorphic widescreen “PBR Streetgang” briefly reunites – through EPK interviews – Frederic Forrest, Albert Hall, Jr., Laurence Fishburne and Sam Bottoms, all of whom have nothing but good things to say about their experiences in the Philippines. The three minute, 40 second “Apocalypse Now and Then” catches up with Coppola at the 2001 Cannes Film Festival and covers the “Redux” process with Walter Murch. The four minute, five second “The Color Palette of Apocalypse Now” discusses the Technicolor dye transfer that renders “Redux” so lushly saturated. A few screens of DVD credits round out the second disc. **AMENDED 7/30/06: Per a note from producer Kim Aubry, I was encouraged to poke around a little and discover some hidden Easter eggs on this set. I found on the first disc a reproduction of a Coppola letter from May 11, 1979, welcoming viewers to a screening of an answer print and an invitation to the filming of the Playboy Bunny sequence and on the second disc, I found a photo of a production banner, a memo to the crew dated Sept. 8, 1976 concerning food poisoning and a “torture list” for Kurtz’s compound as well as a 47 second clip of co-screenwriter John Milius explaining the genesis of the phrase “apocalypse now.”

So what’s not here? The most glaring omission is the acclaimed 1991 Fax Bahr/George Hickenlooper/Eleanor Coppola documentary “Hearts of Darkness: A Filmmaker’s Apocalypse.” So much of the supplemental material included here addresses post-production and the reception of Coppola’s film that the infamously difficult 16-month shoot is only referenced here and there, mostly by Coppola in his commentary (where, maddeningly, “Hearts of Darkness” is name-checked a few times). The actors are also noticeably absent from any of the bonus features except for the “PBR Streetgang” piece. It’s almost as though this two-disc set is a monument to Coppola’s achievement, celebrating his accomplishment to the obfuscation of other contributions; this isn’t to imply that the technical team doesn’t get its props but just as much of Apocalypse Now’s power comes from the actors onscreen and in all of the newly created material, they are nowhere to be found. This set is being touted as “The Complete Dossier,” assuming that everything anyone who’s a fan of the film could want is included. That’s not entirely the case – what’s included here is fantastic and goes a long way towards deepening appreciation for a landmark of American cinema, but until a DVD set is released either incorporating “Hearts of Darkness” or creating an entirely new production documentary using Eleanor’s footage (some of which is glimpsed in a few featurettes), Apocalypse Now remains a film not fully, completely and rightly recognized for the difficult achievement it is on DVD. **AMENDED 7/30/06: Producer Kim Aubry explained the situation regarding “Hearts of Darkness”: “The story with inclusion of ‘Hearts’ is complex and legal. When the rights situation gets straightened out (with that wonderful film), I am sure it will become available again as it must. It just couldn’t happen in this time window for our set.”

***AMENDED 8/20/06: Thanks to DVD Talk reader Ryan, who passed along this detailed information about Paramount’s bizarre decision to offer excised material from the first two DVD incarnations of Apocalypse Now as a bonus disc exclusively carried by Circuit City in limited supplies: “Please note that there is a “Bonus Disc Three” available exclusively … at Circuit City. The disc has this written on it: “The Added Scenes and Expanded Themes of Apocalypse Now Redux”; Destruction of the Kurtz Compound with Optional Commentary; 1979 Theatrical Trailer; 2001 Trailer. The disc is packaged inside the cardboard outer sleeve, behind the digipack. Editions with the bonus disc will have a sticker on the outside which says “Exclusive Free Bonus Disc With Purchase of this DVD While Supplies Last.” Editions with the free bonus disc have a different UPC barcode: 032429010995.” It’s also worth noting that the “excerpts from the original theatrical program” found on the first DVD have still not turned up anywhere, so again, Apocalypse Now enthusiasts would do well to hang onto at least the first DVD release.

Final Thoughts:

It’s billed as “The Complete Dossier,” but until the filmmakers responsible for Apocalypse Now include the essential making-of documentary Hearts of Darkness: A Filmmaker’s Apocalypse, it’s a set complete in name only. It’s heartbreaking to only award a high recommendation to this package, as what’s assembled here is truly an Apocalypse Now fan’s dream – commentary, deleted scenes, invaluable post production footage – but what’s missing is so glaring (and necessary) that I can’t quite bring myself to award DVD Talk’s top rating. The horror … the horror.

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Omen, The (1976) Reviewed By Scott Weinberg Posted 10/20/99 08:34:25

"Nasty, biblical violence with cool music and some great deaths!" (Awesome)

One of the classics of seventies horror, alongside The Exorcist, The Shining, Carrie and … Barbarella, The Omen is a nasty little nugget that offers us this cute little tyke who also turns out to be the spawn of Satan!! Stylish and dark, this one has been all but forgotten about, thanks to its weak sequels and many ripoffs. If you’re a fan of horror, yet you only want the newer ones, do yourself a favor: Listen to this old man, and rent The Omen.Gregory Peck is this American ambassador whose wife gives birth to a baby boy. From that moment on, hell breaks loose. Director Richard Donner proves he used to make some of the most entertaining movies around, until his sequel-whoring became rampant. This is a guy who directed Superman, The Goonies, Lethal Weapon, Maverick, Ladyhawke and Scrooged! (Flip Side: Conspiracy Theory, The Toy, Lethal Weapon 2, 3, 4, Assassins and Radio Flyer)The creepiness is poured on pretty thick, and we’re treated to some of the most shocking deaths ever offered in a mainstream horror movie. (Love that pane of glass!) It’s a pretty stylish affair, and we’re sucked in as the pretty stupid ambassador and his equally clueless wife (Lee Remick) begin to suspect that these random and horribly violent deaths may indeed have something to do with their creepy little kid. They come around eventually, when the 666 tattoo on the kids forehead is discovered. Turns out he’s not really their kid, but he belongs to someone named Jackal or something. All in all, pretty creepy.A finely-acted and damn well-directed horror movie. Set many standards for the ‘religious-horror’ genre, and still stands as a solid scarefest. It’s not as primally upsetting as The Exorcist, but there’s something in there to shake you up a bit, especially for the gentiles, maybe. Head to the dusty old horror section of your local Video Mecca and snatch it. Do NOT stand in line and have second thoughts about getting some crappy new release, trust me. The Omen is a full plate of some hardcore shocks and gore.The Devil shows up as a little boy, complete with creepy babysitter and evil dog-protector. It can be forgiven for the waffly ending, since Damien: Omen 2 is actually pretty good as well. Movies like this make priests yearn for a nice warm synogague, I bet.
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DOWNLOAD MOVIE Five Children and It Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Five Children and It Reviewed By Jay Seaver Posted 10/16/04 05:19:15

"You make a wish, it doesn’t turn out how you’d expect; that’s how it works." (Average)

SCREENED AT THE 2004 BOSTON FANTASTIC FILM FESTIVAL: Five Children and It is a small movie, about eighty-five kid-friendly minutes enlivened by an eccentric Kenneth Branagh and some nifty work from the Henson workshop. It’s not as grandiose as the Harry Potter movies, for instance, but has its charms.The five children of the title are Cyril, Robert, Anthea, Jane, and Lamb, who are packed off during the summer of 1917 to stay with their uncle in the country as London is evacuated and their parents go to France to serve as a pilot and a nurse. The uncle, of course, has a perfectly horrid son of his own (Horace) and a sprawling house governed by arbitrary rules, including never going into the greenhouse. Middle child Robert, of course, breaks this rule immediately, discovering a secret passageway to a beach where it’s not raining and a sand fairy can be found. This sprite can grant wishes, but they only last the day and, of course, have a tendency to go wrong.It’s a mark of how good effects techniques have gotten that the only way to guess when "It" is a puppet and when it is CGI is by what It is doing. Running down the beach - probably CGI. Sitting in its shell talking to the kids - probably the work of Henson’s Creature Shop (the movie is produced by Jim Henson Productions). The purple creature resembles vaguely Rygel from Farscape and is voiced by comedian Eddie Izzard, not normally a guy associated with family entertainment but who seems to be having a great time here.The other adults of note are Zoe Wannamaker as Uncle Albert’s assistant, who clearly knows about It (though she never says so) and helps the siblings cover when things go awry, and Kenneth Branagh as Albert himself. Branagh is actually a great fit for children’s movies (he was the best part of Harry Potter 2); they let him indulge his tendency to play to the balconies a bit but also places boundaries on it. Here, he’s cast in the role of "caring but distracted adult caretaker", the one who is present but busy enough to allow the kids a great deal of autonomy. He’s a math professor, at work on a textbook called "Difficult Sums for Small Children", and his scatterbrained comments are almost always good for a laugh.The child actors are, generally, pretty good. With six kids and less than ninety minutes, most are sketched in broad strokes - Lamb is a toddler, Jane plays the violin badly, Althea devours pulp novels, Cyril is the responsible eldest child (at 13), and Horace is a weird kid with his own basement laboratory. Robert, the film’s narrator, is the lead, a rather selfish troublemaker who idolizes his pilot father and chafes at the idea of Cyril being in charge.I gather that a great deal of E. Nesbit’s novel was cut; comments behind me indicated that the children had many more adventures in the book, with the only one making it to the screen relatively intact was the "flying" story. This would explain why the passage of time feels off; counting the wishes would indicate the story taking place over just a few days, but the events would seem to dictate a longer period. The effects work is fine enough, with It looking good when he has to be mobile and a decent-looking monster in the last act. My only complaint would be the sequence where the children have wings; though rendered well, they don’t really look like they would support the kids’ weight.Not that such things will cause much concern to the movie’s pre-teen audience; they’ll see a movie with at least one character they can identify with, a funny animatronic character, and adult characters who are either funny or sources of unconditional love. And, really, what more should a kid want from a movie? The adults in the audience will likely be amused enough to enjoy watching it with their kids, even if it’s not as truly all-ages a movie as something like Babe or Toy Story.
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DOWNLOAD MOVIE Small Soldiers Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Small Soldiers ** (out of 5) (1998)

Cast: Kirsten Dunst, David Cross, Jay Mohr, Gregory Smith, Phil Hartman, Denis Leary

Directed by Joe Dante

The son of a small toy store owner wants to make his father a profit while he’s away so he decides to stock some new toys early. These new toys are action figures which have a chip in them allowing them to think and talk but they are also meant to fight with each other. Now all hell breaks loose in his neighborhood because these toys stop at nothing until they complete the job they were supposed to do: destroy each other at all costs.

Joe Dante, the man who directed GREMLINS, goes back to familiar territory with this GREMLINS clone. It’s actually quite enjoyable for about the first half before ultimately crashing down in an overlong and overly chaotic siege on the house, consuming about a half hour of mindnumbing tedium. Sporting a likeable cast and outstanding special effects, it has what it takes to be a good film, but it seems that only the concept of the film was good, they just had nowhere to go with it.

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DOWNLOAD MOVIE Clerks II Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Hey kids! It’s Kevin Smith (Jay and Silent Bob Strike Back, Chasing Amy) back where we want him, and where he said he’d never return — the View Askewniverse.  After receiving a less-than-stellar reception for the only film that didn’t fit into the wild and wacky world he had created, Jersey Girl, Smith did what all of his fans wanted him to do, crafting a sequel to the film that first put him on the filmmaking map, Clerks.  

This second movie opens with the Quik Stop in the midst of burning down, taking the RST Video store next door with it.  Without a place to work, two of the clerks of those stores, Dante and Randal, get a job at a fast food restaurant (first featured in Dogma), Mooby’s.  Now approaching their mid-30s, some major changes in their lives are finally coming about, as Dante (O’Halloran, Mallrats) is set to get married and move to Florida to start a new life for himself.  This doesn’t sit well with his best friend, Randal (Anderson, Now You Know), and even seems to be affecting his friendship with Mooby’s manager, Becky (Dawson, Rent), with whom Dante had a liaison with one night, and despite her assertion that she doesn’t believe in romantic love, she has some feelings that suggest they share more than a friendship.  The film takes place on Dante’s final day at Mooby’s, featuring crazy customers, conversations both heartfelt and banal, and, of course, the return of Jay (Mewes, RSVP) and Silent Bob (Smith) as the drug dealers peddling their wares in front of the store.

Although there may be few fans of Clerks that would claim Clerks II a better film, on a technical level, it is.  Obviously, many reasons stem from the shooting budget, since the first film was famously shot for about $27,000, while this higher profile sequel cost $5 million to produce.  With a higher budget, Smith is also able to get recognizable talent to appear in his film, most notably Rosario Dawson in a prominent role.  The amateur actors in the first film are now established comedians with better acting skills and funny ad-libs.  Smith is also a more seasoned director and editor, and even manages to put in a few poignant moments of drama within the framework of this otherwise ribald comedy.  Yes, it’s a better film in nearly every way, although most fans would still claim the first film funnier.  Also, given the limited tools and talent that Smith had to work with at the time, Clerks was definitely a unique, remarkable achievement in independent filmmaking, while Clerks II is just another raunchy comedy.

Unlike many other critics, and certainly most fans, I don’t consider the original Clerks to be a great movie, although I do think it is a very funny one in parts.  Try as I might to overlook them, there are just too many wince-inducing moments where either the comedy doesn’t work or the direction and acting show their lack of experience.  I can take the film on its own terms, but I won’t disregard my critical instincts just because the film was made on the cheap by a bunch of nobodies. 

Clerks II, despite better acting, directing, and production values, still has its share of weaknesses.  The writing is definitely still funny, and sometimes hilarious, but not all of it is.  Walk-on appearances by Ben Affleck (Man About Town) and Jason Lee (Dreamcatcher) are more of a novelty for Smith fans than they are humorous, while the characterizations are, as in many most of Smith’s films, idealized in their respective character archetypes to the point of artifice.  There is also more of a central plot here, and it’s a fairly predictable one, as you know that the flirtations between Dante and Becky are more than passing, and with him about to leave with ball-busting fiancée Emma (played by "Mrs. Kevin Smith", Jennifer Schwalbach), turns of events will be in play to make him rethink his life-changing decision.

At least the plot, such as it is, is kept out of the way throughout most of the film so that we can get more of what we pay our hard-earned money to see.  We like funny characters of very different natures interacting with one another in clever ways.  We like dialogue that sparkles whenever discussing beloved geeky pop culture phenomena like Lord of the Rings, Star Wars, "The Transformers", and Silence of the Lambs.  We like the way Smith constantly pushes the limits of good taste, not afraid to dabble in humor that many people might find shocking, including exploration of racial epithets, depictions of bestiality, and an obsession with graphic sexual dialogue.  When Clerks II is funny, it is very funny, and as with the first film, fans will be quoting from the film’s choicest bits for years.

Perhaps the biggest improvement of Clerks II over the original Clerks comes not through the addition of better players in the supporting roles, but in the very impressive acting by the two lead players, Brian O’Halloran and Jeff Anderson.  Clerks had been the first movie for both actors, and unfortunately it did show at times, but in Clerks II, they manage to provide a great deal of depth and sincerity in their roles.   There are a few scenes of seriousness Smith has written in for these once wafer-thin characters, lamenting their squandered lives and readiness for maturity.  These scenes would give even seasoned actors a bit of a challenge, but O’Halloran and Anderson nail them cold, offering a touching and telling dimension to characters we previously considered only vessels for Smith to draw out funny dialogue.  Such serious moments would have seemed out of place in the first film, and without the talent in front of and behind the camera, they would have been rejected soundly.  In Clerks II, they are readily embraced as even the funniest of scenes, and represent the best the movie has to offer.

As funny as I found much of Clerks II, and of which I recommend to all fans of the first film, I can’t quite go the distance in terms of recommending it without reservations to those not considered true-blue Kevin Smith fans.  His direction is still spotty, his humor scattershot, his characterizations not always genuine, and his awkward tendency to throw in background music just to have it do make for an uneven experience for those looking for something more than just a few very funny conversations.  As with every other Smith film, to properly appreciate Clerks II to its fullest extent, one has to overlook the inconsistent qualities, both in the level of humor as well as the execution. 

I suppose I am somewhat obliged to mention that some of this humor will likely offend the easily offended, especially in scenes where the characters discuss the racist qualities of the term "porch monkey" and a donkey show scene that will cross the boundary of good taste for most (which is precisely why Smith explores it with gusto).  As with the first Clerks, Clerks II is the perfect "water cooler" movie, where you go into work (or school) the next day, standing around and telling your coworkers and friends all about it, recounting the funnier and most raunchy moments with nostalgic relish.       

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DOWNLOAD MOVIE Deep Blue Sea Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Deep Blue Sea ** (out of 5) (1999)

Cast: Samuel L. Jackson, Saffron Burrows, Thomas Jane, Michael Rapaport, LL Cool J

Directed by Renny Harlin

  If there’s one thing Hollywood needs to learn is that JAWS is the definitive shark terror movie. There has never been another remotely close to being as good and there probably never will be. DEEP BLUE SEA is just the latest in a tradition of underwater terror fiascos proving that very point.

Here is the laughable plot: a group of scientists build a large off-shore complex where they can experiment on some sharks in an effort to find a cure for Alzheimer’s. One of the scientists decides to break the rules and change the experiment, making the brains of the sharks larger to increase the likelihood of success in her studies. Uh oh…Now they have created killing machines that think, and it seems these sharks have nothing better to do than plot the demise of the very scientists that created them.

There has already been a “smart shark” film made before and that was called JAWS THE REVENGE. That film stunk and this was almost as bad. Here we have a film that makes almost no sense whatsoever. Why experiment on sharks (which aren’t even mammals, much less primates) to cure a disease found only in humans? Why build a structure out in the middle of the ocean when one could bring sharks back for study in an on-shore facility? Why would making the brains larger mean that the sharks will be smarter? Why do are the sharks so large in some scenes that they can crash through unbreakable underwater windows and in others they are so small they can stealthily be submerged in less than three feet of water? Why does everything blow up as if 2 tons of TNT were strapped to it?

The answer to all these things, of course, is that it looks cool, and therein lies one of the major problems with the film. Director Renny Harlin (DIE HARD 2, THE LONG KISS GOODNIGHT) has built a career in style over substance, logic be damned action thrillers which look good but which are mind-numbingly stupid. He chooses a complex that looks cool but serves no realistic purpose, his sharks look cool but perform feats unlike any in reality, his actors are selected for their looks rather than their abilities right down to the hip glasses Samuel L. Jackson wears, and no scene can end without some sort of explosion or a hip R&B /hip hop song to add to the soundtrack.

The main fault though stems not from the terminal lapse of logic that permeates every frame of the film, but the fact that it lacks the one thing that any good scare flick needs to be: scary. Here are the ingredients for failure: a predictable plot, phony-looking sharks, B-grade supporting actors, and a serious lack of plausibility. It all adds up to knowing where the film is going to go 20 minutes before it happens, while not caring about any of the one-dimensional characters. And when you know what’s going to happen and you don’t care about the characters, you aren’t going to be frightened when they are attacked.

The only real entertainment value to be had from this film is by laughing at it. Had it had a self-effacing, “we know this is all a crock of crap so let’s just have fun” attitude it may have actually been better, but the film makes the mistake of taking itself seriously, which makes it all the more laughable. If you really need to watch a shark film, you know which one to rent. Even if you’ve seen JAWS 20 times already, it still will deliver more thrills and chills than this one will ever muster.

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DOWNLOAD MOVIE Star Trek: Nemesis Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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With all the recent fuss over the longevity of the James Bond franchise, the folks over at “Star Trek” must be feeling like intergalactic chopped liver. Has everyone forgotten that since starting out in 1966, the Trekkers have turned out four TV series with hundreds and hundreds of episodes, not to mention 10 motion pictures, all complete with sharp uniforms, menacing aliens and bracing commands from the bridge? Does all this fade into insignificance at the sight of Halle Berry in an orange bikini? ADVERTISEMENT Ever resilient and reliable, the Starship Enterprise team has never hesitated to move forward no matter what the obstacles, and the latest feature, “Star Trek Nemesis,” has once again ventured into unexplored territory. Both a writer (”Gladiator’s” John Logan) and a director (Stuart Baird of “U.S. Marshals”) new to the franchise have signed on for the latest voyage and ushered in a spanking new group of outer space outlaws. These would be the dreadful Remans, as creepy in a vampire-like, “Nosferatu”-influenced way as you’d expect folks who live on the dark side of their planet to be. But it’s their leader, Shinzon (Tom Hardy), who is most unnerving and whose back story gives this film the most insinuating villain since Alice Krige’s Queen of the Borg stopped hearts across the galaxy. Before the Remans are confronted, the Starship crew, led as always by Capt. Jean-Luc Picard (Patrick Stewart), pauses for some happy moments. The captain’s right-hand man, Cmdr. William Riker (Jonathan Frakes) is marrying half-human, half-Betazoid Cmdr. Deanna Troi (Marina Sirtis) in a wedding highlighted by a chorus of Irving Berlin’s “Blue Skies” sung by emotionless android Data (Brent Spiner) and Whoopi Goldberg, in an uncredited appearance as Guinan.On the way to Betazed for further celebrations, the crew stops at the planet Kolarus III, where they discover a dismantled look-alike earlier version of Data called B-4 (get it?). “This doesn’t feel right,” the captain says, and who should know better than he? Given that they are already close to the Romulan neutral zone, the Enterprise is next sent on a diplomatic mission to that hostile planet, which, in a massive break with precedent, has a new ruler who comes from the usually subservient sister planet of Remus. And what a ruler he turns out to be. For unlike his creepy Viceroy (an unrecognizable Ron Perlman) and the other Remans, Shinzon is a human, albeit a human who has seen so few of his kind that he reacts like a sailor at a strip club when he notices the lovely Commander Troi, adding one of several unexpected notes of sexual urgency to the proceedings. Played with an unsettling youthful hauteur by British actor Hardy (previously seen in “Band of Brothers” and “Black Hawk Down”), Shinzon has a noticeable resemblance to, yes, Capt. Picard. Is it the bald head, the jaunty nose, the air of steely resolve? As someone asks in a typical “Star Trek” moment, “What is this all about?” Hey, it’s about the old-fashioned kind of thematic science fiction that isn’t seen much anymore, redolent of late-night dorm-room chat sessions on issues like doubles and the nature of identity, when questions on the order of “can the echo defeat the voice” could seem, after too much caffeine abuse, like something almost profound. Questions that helped make the original Gene Roddenberry “Star Trek” such a phenomenon. It’s true that the “Star Trek” movies, and “Nemesis” is only partially an exception, have an air of pokey earnestness about them. No one is going to say they have the narrative propulsion of a runaway train, no matter who writes and directs them. And, with Stewart and in this case Hardy very much the exceptions, no one is going to say they are memorably acted. Familiarity and continuity are what the success of this series has always been about. We’ve been here before, and we like the neighborhood. ‘Star Trek: Nemesis‘ MPAA rating: PG-13, for sci-fi action violence and a scene of sexual conduct. Times guidelines: A single strange scene of sexual substitution. Patrick Stewart … Jean-Luc Picard Tom Hardy … Shinzon Jonathan Frakes … William Riker Brent Spiner … Data/B-4 Marina Sirtis … Deanna Troi Ron Perlman … Viceroy A Rick Berman production, released by Paramount Pictures. Director Stuart Baird. Producer Rick Berman. Executive producer Marty Hornstein. Screenplay John Logan. Story John Logan & Rick Berman & Brent Spiner. Cinematographer Jeffrey L. Kimball. Editor Dallas Puett. Costumes Bob Ringwood. Music Jerry Goldsmith. Production design Herman Zimmerman. Art directors Cherie Baker, Donald B. Woodruff. Set decorators Ronald R. Reiss, John M. Dwyer. Running time: 1 hour, 57 minutes.
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DOWNLOAD MOVIE Night and the City Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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The Film:
Of all the luckless losers to inhabit the dark, morally corrupt world of film noir, few have been less likable than Harry Fabian, the antihero of director Jules Dassin’s classic Night and the City. Richard Widmark stars as Harry, a two-bit American hustler living in post World War II London. Harry has a mind that races a mile a minute, always thinking of the next get-rich-quick scheme. But the problem is that Harry’s imagination far exceeds his resources or his intelligence. As one character describes Harry, he is “an artist without an art,” an all-too-true indictment on a con artist with no real con to call his own. But then Harry hatches a plan that involves Gregorius the Great (Stanislaus Zbysko), a former wrestler disgusted by the fact that his son is promoting sideshow professional wrestling, as opposed the classic grappling that relies on athleticism over flamboyant theatrics. The problem is that Harry has only thought about the end result of his scam – the part where he gets rich – without every really thinking about all the things that could go wrong. And wrong they go, leaving Harry in a position where he must flee for his life.

Night and the City is an interesting entry in the film noir genre in that the central character has no redeeming qualities. Other noir anti-heroes, no matter how morally off-center they may be, always have some shred of redeemable attributes. But such qualities never really surface in Harry, who comes across as a hyperactive, spoiled child prone to fits of pouting. Widmark’s portrayal of Harry as someone you can’t stand makes for an interesting cinematic experience, as you begin to sympathize with those out to get him, and want to see him fail. When Harry is set up by his employer (Francis L. Sullivan), a sadistic nightclub owner jealous that his wife (Googie Withers) is carrying on with Fabian, there’s no denying the feeling that he’s got what’s coming to him.

Based on Gerald Kersh’s novel, with a beautifully written script by Jo Eisinger, Night and the City is a tightly woven tale of deception and betrayal. Directed by Dassin after he was blacklisted and left America during Hollywood’s notorious “red scare,” the film has a metaphorical tone, as Harry grows increasingly desperate while trying to survive in a world out to destroy him. Whether or not is was Dassin’s intention to make a noir thriller that offered a veiled examination of McCarthyism is uncertain, but time has added that to the film’s milieu.

Video:
Night and the City is presented in 1.33:1 from a newly restored high-definition transfer. The back and white photography of cinematographer Max Greene is crisp and clear.

Audio:
Night and the City is presented in monoaural.

Extras:
A fairly recent with director Jules Dassin and excerpts from a 1972 French interview are the two highlights of the bonus features found on the Night and the City disc. The 1972 interview includes Dassin talking about his earliest experiences as a director in Hollywood, while the contemporary interview focuses primarily on Night and the City. Film critic and scholar Glenn Erickson provides an informative audio commentary. The only complaint about Erickson’s commentary is that it sounds like he’s reading from a set of prepared notes. Clearly he knows a lot about the film, but there isn’t much passion in what he’s saying. Still, despite the somewhat dry nature of the commentary track, it still offers fascination insight and information into a beautiful film.
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DOWNLOAD MOVIE Killing Zoe Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Killing Zoe Reviewed By Rob Gonsalves Posted 01/18/07 14:40:45

"Mindless splatterthon." (Pretty Bad)

You have to feel sorry for Roger Avary.He started out as a clerk at the now-famous Video Archives in California, working with (and befriending) the now-famous Quentin Tarantino. The two film geeks talked movies and watched cheesy videos until dawn. And when they weren’t renting or arguing about movies, they wrote their own: Avary, it’s been reported, made uncredited contributions to Tarantino’s scripts for Reservoir Dogs, True Romance, and Natural Born Killers, and he has a co-story credit on Pulp Fiction. This has undeniably been the year of Quentin; roughly 5,000 magazine articles have made the same points about how omnivorously film-literate Tarantino is, how fond he is of movie board games, ad nauseum. Quentinmania has eclipsed Avary’s directorial debut, Killing Zoe, which has been noticed, if at all, in terms of its being "a movie by Quentin’s pal." (Tarantino served as an executive producer on the film.) Avary must fear that no matter what he does, he’ll forever work under Quentin’s long, lanky shadow. Well, if he goes on making stupidly violent clinkers like Killing Zoe, he’ll deserve no better fate. Let me be clear: I am not slamming this Roger Avary film for not being a Quentin Tarantino film. I am slamming it for not being a good Roger Avary film. Killing Zoe has some tense, funny moments, but overall this is — sorry — the sort of nihilistic bloodfest Tarantino satirizes so suavely. Sitting through the moribund Boxing Helena (another bad gerund film!), the directorial debut of Jennifer Chambers Lynch, I asked myself whether I was being unfair to her by holding her movie to the high standards set by her father, David. But then I thought: Nah, the movie sucks by any standard. Same with Killing Zoe. The characters have no intrinsic interest, no life, nothing to set them apart except a few clumsy pop-culture references. The plot — a pack of internationally mixed thieves pull a bank heist — is just a gory hipster rewrite of Dog Day Afternoon (whatever can go wrong does); it’s Reservoir Dog Day Afternoon. The star, Eric Stoltz (as a jaded safecracker), should really come up with a new look; he’s had the same grunge-Christ hairdo and goatee for several movies now. And he’s been giving pretty much the same nasal, neurotic performance, making me forget how appealing he was in The Waterdance and Mask and (I’m not kidding) The Fly II. Stoltz is Zed (wasn’t that the name of one of the hillbilly rapists in Pulp Fiction? Where’s Maynard?), a slacker who lived in Paris as a child. His boyhood pal Eric (Jean-Hugues Anglade) has been planning a bank heist, and he wants Zed in on it. The night before the heist, Eric and his cretinous buddies treat Zed to a heroin-fueled paint-Paris-red session. Then the heavily armed thieves descend on the bank, and it’s Roger Avary’s turn to paint Paris, or at least every available surface, blood-red. Killing Zoe is big on giggly sadism disguised as a moralistic comment on amorality; it’s everything Reservoir Dogs was unfairly accused of being. We’re meant to experience the violence through Zed’s dazed, passive eyes, but since we feel superior to Zed early on — we judge him by the idiotic company he keeps — the movie’s viewpoint is thrown out of whack. The movie is also, not coincidentally, boring. Killing Zoe grinds forward to its predetermined splattery conclusion. We don’t care about anyone in the movie, not even the titular Zoe (Julie Delpy), a student/prostitute who services Zed in the first reel and then, improbably, turns up later as a teller in the bank. (I’m always bumping into students/prostitutes/bank tellers.) I trust I will ruin nobody’s experience of the film by revealing that Zoe is not killed. Just about everyone else is, though. The title isn’t just misleading, it’s dumb: It looks as if the title was originally Killing Zone and someone left off the ‘n’. (The meaning of Zoe as a name is "life," so, like, the movie is about killing life, y’know? Heavy, man. Very French.) Is there nothing enjoyable in this ugly, scattershot movie? Jean-Hugues Anglade puts a mean, witty spin on his lines, but in no time flat I got sick of looking at him and his gang of scuzzy bohemians. Avary stages a long, woozy Paris-nightlife sequence, with Zed reacting badly to various drugs (it’s like an outtake from Sprockets), and you can’t tell what Avary is doing; on some level, he seems to appreciate these drugged-out jerks. They do come to a bad end, but it’s a movie-ish bad end, a Pacino-Scarface bad end — a blaze-of-glory bad end, in which Eric, the lead sociopath, takes dozens of explosive bullet hits and then slithers to the floor in romantic slow-mo. Killing Zoe is a pointless, derivative exercise in mayhem for its own sake.I have a friend who hates movie violence, who told me, shuddering, that an old boyfriend of hers had raved about ‘Reservoir Dogs.’ Based on his description of it, she’s immovably convinced (without having seen it) of its thuggish, unredeemed brutality. And what I wonder now is whether her ex was actually talking about ‘Killing Zoe.’
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