Archive for March, 2008

watch Ghosts of Mars movies on internet

Monday, March 31st, 2008

Download Ghosts of Mars

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Ghosts of Mars **1/2 (out of 5)   (2001)

Cast: Natasha Henstridge, Ice Cube, Jason Statham, Clea DuVall, Pam Grier

Directed By John Carpenter

 

The new rule of thumb for this millennium is that if a film takes place on Mars, stay the hell away at all costs.  Not since Total Recall has there been a Hollywood expedition there with any success, and after the planetary piffle that was MISSION TO MARS and RED PLANET, one would think our neighbor in space would be the last place one might decide to stage a film, just to avoid comparisons with what came before. 

This one takes place further in the future than the other two, where a tough female cop named Melanie and her squad have the unpleasant assignment of traveling to Mars and escorting back one James "Desolation" Williams, the intergalactic badass who may be responsible for many a death and even more destruction.  However, strange things are a-brewin’ once they arrive, as they find Mars has become a virtual ghost planet…where have all the people gone?  Seems they are killing themselves or each other at an alarming rate, and Desolation may prove to be the least scary person left alive. 

GHOSTS OF MARS may get the award for evoking the most feelings of deja-vu from any release this year, and especially if you are familiar with much of John Carpenter’s previous works.  While the plot is so close to PITCH BLACK to deny influence, John dips into his own bag of tricks more often-than-not to make a virtual remake of ASSAULT ON PRECINCT 13 combined with ESCAPE FROM NEW YORK.  Like nearly all of Carpenter’s films, this one suffers from over-emphasis on atmosphere and underdevelopment of characters, relying on stereotypes and rather idiotic dialogue to get points across.  Pretty much all of the action is amateurish across the board, and the special effects?  Well, the movie is filmed on a modest budget and nothing you see on screen will surprise you on learning that fact.  Unlike the previous Mars films, this one isn’t going to save itself with jaw-dropping special effects, so the work is definitely cut out in terms of potential entertainment. 

However, call me crazy, but there were a number of moments when I found myself enjoying the film for all of its quirky badness.  Carpenter has spent a career making interesting trash, and while GHOSTS OF MARS may never be confused with good, people who just flat-out enjoy b-grade slop may actually find this adventure to be the guiltiest of pleasures.  Yes, it’s bad, but it knows it’s bad, and that is almost enough to make it good.

Almost.  Definitely not something you might want to spend money on, and well, unless you watch any old piece of crap they show on the sci-fi channel, it’s nothing really worth spending your valuable time on either.  GHOSTS OF MARS is for only one kind of moviegoer:  the schlock sci-fi/horror junkies.  I could also add fans of John Carpenter, but I think this description covers all of them. 

I suppose this brings up another rule of thumb not mentioned in the beginning of the review:  if you don’t love at least one John Carpenter film, stay away from this one at all costs. 

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Sunday, March 30th, 2008

Download Total Recall

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A nearly unrecognizable adaptation of a classic Philip K. Dick story, Total Recall may have been re-scripted a reported 40+ times, but in the end, it still emerges as one of the best science fiction films of its era.  From outward appearances, it would seem like just another brain-dead action vehicle for Arnie (Predator, The Terminator) to blow everything up in sight, and he certainly does that, but that’s just scratching the surface of what makes this a must-see movie for all sci-fi/action junkies.  It’s clever, thoughtful, absorbing, and exhilarating; it delivers all the goods you could want, and then gives you a little more. 

Set on Earth of the future, where we’ve already mastered the ability for space travel to through the solar system, and even set up colonies on Mars, Total Recall surrounds a lowly construction worker named Douglas Quaid, who has recently been plagued by a recurring dream of being on Mars.  His doting wife (Stone, The Quick and the Dead) tells Doug it’s just a dream, but there’s something in the events of the dreams that makes him curious to find out more about the red planet.  Seeing an advertisement for a company called Rekall, an establishment that will implant the memory of a vacation into the mind in vivid and perfect detail, Doug decides to choose the "secret agent" package set on Mars. 

No sooner than the implanted thoughts enter his head, Doug finds himself in what he perceives to be a real-life espionage drama involving himself and his role in a Martian underground society of spies, all seeking to end the stranglehold of a megalomaniac corporate businessman named Cohaagen (Cox, Beverly Hills Cop).  Fighting for his life, Doug makes his way to Mars to try to uncover the secret to who he really is, but not everything is what it seems to be, both on Mars and in his mind.

Director Paul Verhoeven (Hollow Man, Starship Troopers) pulls out all stops in this ultra-violent and action-packed rollercoaster ride of a movie that never lets up for a second.  It’s tightly edited, always moving forward, with more than a few nifty twists to keep the plot mercurial enough to be fascinating.  The violence is often gratuitous, and in many cases, quite graphic, but as Verhoeven did so well in Robocop, the humorous tone is always maintained in a way that tempers the impact of the bloodiness.  Perhaps a few things are excessive — the scenes with humans exposed to the air-less environs of Mars are ridiculously overdone — but given the fantastical nature of the presentation, it seems disingenuous to nitpick about a few inconsistencies in physics and logic.

If you aren’t squeamish about heavy doses of violence, Total Recall gets a high recommendation for fans of action and science fiction adventures.  Easily Schwazenergger’s best non-Terminator film (apologies to Predator fans), this one will probably be in any collection among those that consider themselves to be his biggest fans.  You may not be able to take a trip to Mars, but after watching Total Recall, the memory of living out an adventure as a secret agent in a world of danger is well worth the film’s rental price to implant.

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Friday, March 28th, 2008

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Thursday, March 27th, 2008

Download Children of Men

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The best science fiction talks about the future to talk about the now, and “Children of Men” very much belongs in that class. Made with palpable energy, intensity and excitement, it compellingly creates a world gone mad that is uncomfortably close to the one we live in. It is a “Blade Runner” for the 21st century, a worthy successor to that epic of dystopian decay. Like that earlier film, “Children of Men” is based on a novel (P.D. James this time, not Philip K. Dick) and deals with the question of the future of human life. It brings so much urgency to the possibility of the world ending that we feel the kind of terror we would if the scenario were taking place tomorrow instead of 20 years in the future. ADVERTISEMENT Also, in Alfonso Cuarón, “Children of Men” has a strong director with a powerhouse visual sense who is at home with both action sequences and philosophical concerns. Cuarón, with such widely diverse films as “A Little Princess” and “Y Tu Mamá También” behind him, demonstrates once again that no genre is beyond his mastery. The plot hook of “Children of Men” is simple but devastating: the infertility of the entire human race. The date is 2027, and it’s been 18 years since the Earth’s last human child was born. James, whose novel has been altered considerably by the film’s five credited screenwriters, says she wrote it to answer the question, “If there were no future, how would we behave?” The answer, in a word, is horribly. For what “Children of Men” shows us is a world coming apart at the seams. Britain, where the story is set, has survived by becoming a chaotic police state in which rioters fueled by pure fury attack whatever moves and heavily armed police and savage dogs keep a close eye on ever-present refugees stuffed into sidewalk holding tanks. “Renouncers” flog themselves for the forgiveness of humanity, public service ads insist “The world has collapsed, only Britain soldiers on,” and an underground group called the Fishes fights for equal rights for that flood of immigrants. This, again like “Blade Runner,” is an undeniably pulpy premise, but two things elevate “Children of Men“: One is the sheer forcefulness of the storytelling, the other the film’s brilliant visual look and style. The story line here is again quite simple. A disheartened bureaucrat named Theo (Clive Owen, master of the disillusioned look) has cut himself off from most human contact except for an old friend and hippie drug dealer named Jasper (Michael Caine in a way we’ve not seen him before). This all changes when Theo comes face to face with Julian (Julianne Moore), his old flame who turns out to be part of the leadership of the Fishes. She and her lieutenant, Chiwetel Ejiofor’s Luke, want his help in procuring exit visas for a young refugee woman named Kee (Clare-Hope Ashitey). It will surprise no one who has noticed “Children of Men” is opening on Christmas Day that, astonishingly, Kee is with child. Theo reluctantly agrees to help, and all kinds of unexpected complications follow in the wake of that decision. Everyone has agendas within agendas, and even simple notions, like the importance of getting Kee to safety, turn out to mean different things to different people. And, because of Kee’s urgent condition, every decision is taken under the ever-higher pressure of increasingly dire time constraints. The critical factor in helping keep that tension at a high pitch, critical in getting us to take seriously what could be a lurid premise, is Cuarón’s skill in not only motivating his actors but also in creating such a ferocious sense of forward momentum that everything feels more real — and more terrifying — than would seem possible. Essential here is exceptional work by production designers Jim Clay and Geoffrey Kirkland, who create a world of garbage and decay that looks both contemporary and futuristic. Most remarkable of all is what Cuarón’s longtime director of photography Emmanuel Lubezki has accomplished by shooting entirely hand-held with few lights, greatly increasing the film’s verisimilitude. Although everyone will notice the bravura work of camera operator George Richmond during one continuous seven-minute-plus battle scene, the skill of the cinematography team carries the film from the beginning to the end. Perhaps most delicate of all is the way director Cuarón has made “Children of Men” comment on the problems society faces today, crises involving racism, terrorism, decaying infrastructure, threatened environment, government-inspired paranoia and more. This is a world of rubble, fear and hopelessness whose connections to our own are never forced; Cuarón is such a fluid director with such a powerful imagination, they don’t have to be. This could well be our future, and we know it. kenneth.turan@latimes.com Children of Men.” MPAA rating: R for strong violence, language, some drug use and brief nudity. Running time: 1 hour, 48 minutes. Opens Monday exclusively at Pacific’s Grove, 189 The Grove Drive, L.A., (323) 692-0829, and AMC Century City, 10250 Santa Monica Blvd., L.A., (310) 289-4AMC.
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watch Cliffhanger full movies

Wednesday, March 26th, 2008

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Cliffhanger (1993) Reviewed By Slyder Posted 10/15/01 14:40:39

"A Decent, Average Stallone Popcorn Flick" (Average)

Well well, after all the shit that Sylvester or Sly Stallone did during the entire 80’s, it was fair to say that Stallone needed a break. He had to find a hit movie or sink into the annals of Hollywood as a has-been. And he did, teaming up with wannabe A-list director Renny Harlin, and took out his comeback. It’s actually a pretty good movie, sure, nothing great, but still somehow worth your time, if you look at it in the sense of entertainment. Lets take a lookSo, Gabe Walker (Stallone) tries to rescue his friends, Hal Tucker (Michael Rooker) and his girlfriend Sarah (Michelle Joyner) in the Rocky Mountains. But then the rescue goes awfully wrong, Gabe tries to save Hal’s girlfriend, but in vain, and she dies. That plunges Gabe down with Hal, and he walks away. Many years later, Gabe returns but to get his longtime girlfriend Jessie (Janine Turner), and as things pass by, over the skies an airplane mid-air heist goes awry and the cases of cash –three of them- get lost over the Rockies, and their plane crashes. So they get a fake emergency call to the rescuers, where Gabe and Hall unfortunately have to team up to get them, only to be kidnapped and forced to guide them towards the cases. Then all hell will break loose as our friends try to fight these terrorists and their evil leader, Eric Qualen (John Lithgow).Ok, the good parts. The action scenes were awesome. Of course, Harlin is like the master in doing action films (or at least he pretends to be), and certainly knows his way around, or tries to, with often good results. The film just grabs you and never lets you go. You’ll be entertained for nearly every second that the film plays. The stunts were absolutely great. Sure, the fights get gory from time to time, but it sure delivers that one great. Another excellent thing in the movie was the cinematography, by Alex Thomson. Though it would’ve been better, it was certainly breathtaking in many scenes. The FX were cool, I was really impressed by those.There was only one thing lacking, a good storyline. The storyline, though it had its moments, it was laughable at some points it was bad. It had some pretty bad plotholes about mountain climbing that was pretty much idiotic. I guess many professional mountain climbers would be pretty pissed at this one. And since the film’s main focus is on mountain climbing, it kills the film’s seriousness in every way. Thanks to this, the rest is reduced to a popcorn film, where the only thing to awe is all the minor details in the film, and not the film’s point itself. Stallone should really start practicing more his writing skills at home, trying to perfection his action formulas, but not onscreen since while it delivers action, the main plotline almost always turns out a total embarrassment.The performances weren’t as good as I thought. While Sly gives one of his better performances, the rest of the cast is struggling, especially Lithgow, who has a pretty ridiculous accent for a British guy. So are the rest of the terrorists. All around averageIn the end, it’s an average film, sure, it sure brings some adrenaline and fun, but it’s empty in the heart, and really doesn’t give out what it has to get. Lots of clichés and plotholes reduced another potentially good movie into another simple popcorn flick. See at your own risk (2.5-5)
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watch Finding Nemo movie

Tuesday, March 25th, 2008

Download Finding Nemo

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The great animator Chuck Jones, who was responsible
for many of the best Looney Tunes cartoons and created the Road Runner
and Pepé LePew, was often asked about his intended audience. 
His cartoons were very mature in a lot of ways, and had jokes that young
children never understood.  But they also had a lot of general silliness
that the youngsters loved.  Whenever Chuck was asked if he was making
his cartoons for the adults in the audience or the kids, he always replied
“I was making them for me.”  That is the reason so many of the cartoons
he worked on are considered classics.  He wasn’t trying to guess what
his audience wanted.  He just tried to make something that he found
entertaining.  And it worked.

I suspect that the creative forces at Pixar do
the same thing.  All of their movies are marketed for children, but
there are a lot of elements that keep adults interested and entertained. 
Whatever their mindset, it works.  Pixar has churned out movie after
movie that has pleased youngsters and their parents.  Meaningful movies
that haven’t insulted anyone’s intelligence by hitting you over the head
with the message, and are a lot of fun to watch.

The Movie:

Finding Nemo
is no exception.  Their most ambitious project yet, Nemo is the tale
of Marlin, a clownfish living in an anemone.  Soon before their brood
of eggs are to hatch, Marlin’s wife and all but one egg are eaten by a
barracuda.  Marlin promises this last egg that he will never allow
anything to happen to him.

Time passes, and the egg hatches and grows up
into a fine little fish, Nemo.  On Nemo’s first day of school he gets
frustrated by the fact his father is so overprotective and swims away from
the protection of the reef to see a boat.  Nemo gets captured by a
diver while his father watches.  The rest of the film is Marlin’s
journey to find his son, aided by Dory who has a VERY short memory, and
Nemo’s attempts to escape from the aquarium he finds himself in.

This film is beautiful to watch.  The underwater
scenes look very natural, it feels as if you are on a coral reef. 
The sun filters through the water and plays on the sand a coral making
highlights and shadows.  The anemones sway with the movement of the
water, the attention to detail is amazing.  The fish and other sea
creatures move in a very realistic fashion when swimming.

The story is excellent too.  It is very humorous
and also touching without being sappy.  The narrative flows naturally
and easily.  There are a few edgy moments, but nothing too intense
for small children.

There are several jokes that were put in just
for the older audience members.  From references to Beatles songs
and The Shining to Dory asking “What is it about men an asking directions?”
there are a lot of places where the adults will smile even if the children
don’t.

A great film for the whole family, or just the
adults who want something light yet entertaining.


 

The DVD:



This THX certified two DVD set is the standard
that other special edition DVDs should strive for.  Excellent in every
aspect.

Audio:

As with the video, the audio quality is simply
top rate.   The only audio option for viewing the movie is Dolby
Digital 5.1.  (English, Spanish, and French subtitles are available.) 
There is a commentary track, but you can not switch between the movie sound
track and the commentary while watching the movie.  (See the section
on extras.)  Unfortunately, there is not a DTS audio track. 
Though I would have liked one, the DD 5.1 does an excellent job, and I
assume the DTS was left off for reasons of space.  (This is one full
disc.)

This movie has a wonderful sound to it, and the
DVD reproduces this faithfully.  You can clearly hear the crisp string
section and the low deep tubas in the music.  Your subwoofer gets
a good workout in a few parts too.  But not only are the loud parts
impressive, but the more subtle sound effects and incidental music are
too.   The sound of Bruce the shark smiling is wonderfully menacing,
and easy to discern.

The best part of the audio though, is that it
immerses you in this undersea world.  There is excellent use of the
rear channels.  They are at an appropriate level and blend seamlessly
with the front speakers.  From the whale songs, to the crashing of
the waves and the incidental music, the sound envelopes you.

Video:

The movie is presented in widescreen on disc one
and P&S on disc two.  Both versions are gorgeous.  The picture
quality of this DVD is absolutely stunning. A reference quality disc. 
The edges are crisp and clean.  The colors are bright and vivid. 
When Marlin and Nemo are swimming through the reef, you can see the myriad
of colors of all the fish and coral as clear as day.  Vibrant and
flashy this is delightful eye candy.  Later when Marlin swims out
to the sunken submarine, the colors get darker.  There are different
hues of dark blue, brown, and dark green.  They make everything look
realistic and set the mood accurately.  Throughout the movie, the
blacks are dark black, and the transition form dark to light is made smoothly
and cleanly without large differences in color as is often seen in animation.

Pixar paid a lot of attention to details too. 
If you look closely, there are numerous instances where they have taken
the trouble to animate objects that they could have easily skipped. 
The seaweed growing on the mines floats and sways.  When Dory is talking
to Marlin, you can see his reflection dancing on her eyes.  They even
had light reflecting off of individual scales on the fish.  It’s little
things that make you realize how much work was put into this production.

An absolutely beautiful transfer.

 

The Menus:

I usually don’t talk about the menus on a DVD
too much, but these deserve their own section.  Pixar, again, whet
to a lot of effort to make entertaining menus.  On the first disc
they are all animated scenes from the sea, and on the second discs they
are from the aquarium in the dentist’s office.  The beautiful scenes
have humorous voice overs by the characters from the movie.  My kids
were laughing so hard at the menus, they wanted to let the audio loop over
so they could hear it again before we even started the movie.

When you make a selection, there is a very short
animated sequence that takes you to the submenu.  These interstitial
sequences are often funny to, one of them including more of Mr. Ray’s singing.

The Extras:

This set is simply packed with extras, hours worth
of information about this movie.

Disc One:

Introduction: 
1 minute intro to the movie buy the creators.  Make sure you watch
for John Lasseter in the background hamming it up.

Making Nemo:  
A 25 minute documentary that is much more than a fluff piece.  Informative
and entertaining documentary on different aspects of the movie’s creation.

Commentary with video clips:  This
was very interesting.  The commentary track was with directors Andrew
Stanton and Lee Unkrich and writer Bob Peterson.  At certain moments
in the film, a video clip is inserted that illustrates how certain scenes
were done or effects achieved.  These clips total over 30 minutes
of extra video, all of it informative.   These clips talk about
such things as how difficult it is to model underwater explosions, and
show the progression of animation anemone tendrils.

The commentary itself is very entertaining and
interesting, as all of Pixar’s commentary’s have been in the past. 
When the inevitable lull in the conversation arrives, they fill the time
with a joke or two.  At one point one of them opens a bag of chips
and starts loudly munching on them, much to the chagrin of the other two
participants.  This is a nice way to breach the quite parts that most
commentaries have.

Design Galleries:  Four in all, with
subsets for Art, Characters, Environment and Color Script.  The first
one has an optional commentary.  The most impressive is the last gallery
that contains over 300 images that were used to determine the colors and
lighting for the movie.  The images are shown automatically, so you
don’t have to press the “next” button on your remote. A very nice set.

Virtual Aquariums: 
Seven different ones are included on the first disc.   These
are animated scenes that loop so you can put them on your TV and it looks
like a window onto the sea.  There are sound effects and music playing
over them through all five speakers, enveloping the watcher in sound. 
My only wish was that these were available on the disc as a screen savers
for your PC.  They look much better than any of the other aquarium
savers I have seen.

Disc Two:

Exploring the Reef: A seven minute documentary
narrated by Jean-Michel Cousteau.  And frequently interrupted by Dory. 
Very funny.

Knick Knack: 
A hilarious short that Pixar made in 1989.  This was shown before
Finding Nemo during Nemo’s theatrical release.

Mr. Ray’s Encyclopedia: 
A short, humorous look at the different types of fish that appear in Finding
Nemo with the movie’s own ichthyologist, Mr. Ray.

Fisharades: 
A game where a school of fish make a figure, and you have to guess what
it is.  Narrated by Crush, with occasional comments by Dory. 
It was a little long, but mildly entertaining.

Story Time: 
A read-a-long version of Nemo

Behind the Scenes:  Two promotional
videos and seven trailers.

Virtual Aquariums:  Four more virtual
aquariums with scenes from the dentist’s office.  As with the aquariums
on the first disc, these are very nice.

All in all, great selection of extras.

 

Final Thoughts:

Every aspect of this production is high class.  Great sound and
audio, wonderful menus and chocked full of extras.  Add to that a
very good movie, and you have a paradigm of how to put together a DVD.
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download online Good Shepherd, The videos

Monday, March 24th, 2008

Download Good Shepherd, The

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Good Shepherd, The

Now here’s a movie that will surely test your movie watching mettle.  Excessively lengthy, emotionally cold as ice, and thematically overambitious, The Good Shepherd will draw its share of detractors from the impatient, the confused, and the ones who think that a story is bad if there isn’t a character they can identify with.  To those that complain about this film: you’re right.  It’s all those things, but it’s also so much more than that.  While I can agree with the complaints that are lobbed on this film, it’s only after the fact that I can do so.  While the movie played, I sat riveted by it all.  When I walked out, I felt it was one of the best movies I had seen this year.  Then I read the negative criticisms, and agreed with nearly every one of them.  Intellectually, I can understand why someone wouldn’t like this film.  Yet, I think it is such a fascinating, absorbing, and richly developed work, that I still consider it one of the best films of the year, despite the detractions.

Although The Good Shepherd plays like a film based on a true story, with its real-life historical events as the backdrop, and characters that possess traits similar to those who’ve lived and worked during the years covered by the film under the same job title, the story is mostly fictionalized.  It would be difficult to make a film this pessimistic, unflattering, and accusatory about anyone, even if the everything that occurred within the film were absolutely true.  The is a real story insomuch as it is similar to things that took place behind the scenes of the nation’s espionage game during the Cold War era, and dramatic license is employed whenever possible to bring about an overall story of a man who is conflicted between his loyalty to his family and his loyalty to his country.  Or, perhaps he may not be conflicted at all.

At its heart, The Good Shepherd is about the origins and early years of the CIA, as told through the story of one of its leading founders, Edward Wilson (Damon, The Departed), loosely based on real-life counterpart, James J. Angleton.  The covers nearly four decades, constantly shifting between the events surrounding the aftermath of the botched CIA-sponsored "Bay of Pigs" attempt at overthrowing Fidel Castro and those of Edwards’ formative years, mostly including his dealing with the spy operations that took place in the World War II and early Cold War eras.  There is evidence that suggests that the reason behind the failure of the Bay of Pigs had been due to an insider’s tip within the CIA organization itself, so Edwards and company work diligently in uncovering who might have been responsible.  Meanwhile, Edwards’ own loyalties are tested, including being constantly manipulated by unknown forces, loyalties that become conflicted by the family he doesn’t really want, and the potential for a romance that had been the only thing he seemed to ever care about, other than his unwavering support for his country’s well-being.

Clocking in at nearly three hours in length, it’s hard not to come away feeling like the film could have been much shorter and still delivered on everything it needed to from a story standpoint.  Certainly there are a number of characters that don’t particularly add to the core themes, and one can point to certain scenes that carry on long after their importance to the film has expired.  At the same time, these characters and scenes also add a certain complexity to the film, and even when they seem superfluous, I can’t think of any that I would casually excise.  They may not be important, but they are enriching and engrossing for reasons not altogether apparent at the time.

In many ways, The Good Shepherd is very similar to screenwriter Eric Roth’s previous screenplay for Munich.  Both films use fictional characters linked to real historical events.  Both films are character studies about men who are driven by a duty to a higher calling that exceeds their own personal lives.  Both films revolve around themes of trust, loyalty, honor, and a Machiavellian principle of the ends justifying the means to make the world a better place, at least from the perspective of the participants.  Both are about silent wars that are being fought behind the scenes, outside of the public eye, that have far-reaching consequences, every bit as potentially deadly as the more tangible wars.  Both films are sprawling, lengthy, and filled with many characters who weave in and out of the overall tapestry. 

Of course, Munich is the more accessible film for most viewers, as the protagonist of the film is far less aloof.  By contrast, Edwards remains an emotionally-distant shell throughout most of his story, as enigmatic and complex as the espionage rings he’d crack.  It’s harder to feel for a man who would willingly regard his own family as expendable for the good of the country, but thanks to Damon’s subtle, understated performance, we can see that he is very conflicted about his actions throughout the film.  Sometimes we even feel his shame, though he barely shows it.

While some may see the film as lengthy and lacking focus, the only aspect of the film that did actually bother me is the poor work done in aging the main characters.  Matt Damon’s Edwards always seems to look the same, whether he is in his 20s or his 40s.  The same goes for Angelina Jolie (Mr. and Mrs. Smith, Sky Captain) as Edwards’ long-suffering wife Margaret.  Although both 30-something actors are youthful enough in appearance to buy when they play college students, somehow they suffer when they play characters closer to their age, perhaps because the make-up was underutilized.  Normally, such things wouldn’t be as much of a problem, except we have a film that constantly shifts back and forth in time to various points in the characters’ lives.  It’s sometimes difficult to remember the proper time and context of certain scenes when the characters always seem to look the same.

When it’s all said and done, I was willing to overlook this detraction, and many of the others mentioned earlier, for the sake of the overall work.  It may not be the most scintillating spy yarn you’ll see (this is the antithesis of Casino Royale), but for lovers of cold, intricate tales of espionage, it is a deep, rich and sometimes even spellbinding work that will reward patient, thoughtful viewers with a fuller understanding and appreciation (and perhaps even a disdain) for people who are
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Sunday, March 23rd, 2008

Download Little Mermaid, The

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Little Mermaid, The Reviewed By Tony Hansen Posted 11/09/07 09:48:39

"The Little Mermaid" is Rotten Sushi" (Pretty Bad)

It’s been all of 18 years since the theatrical release of "The Little Mermaid," and finally, now that the dust has settled, the mermaid fever has subsided, and its substantial audience has had a bit of a chance to digest the film, it seems clear that what the world really needs right now is to read another review of this 1989 Disney offering. People are clamoring for a well researched, incisively written, and amazingly thought-provoking piece of criticism. Humankind needs the truth, the real truth, raw and unfettered by fuzzy feelings and soggy nostalgia. Unfortunately, this is not such a review. On the contrary, this is an examination full of hunches, uneducated guesses, and fly-by-the-seat-of-your-pants intuition. Concepts like “logic” will not be used, and the original Hans Christian Anderson text will not be considered. But does Ariel deserve any better? "The Little Mermaid," with all its magic and pluck, presents its fish princess as nothing more than a socially irresponsible and destructively inconsiderate brat. And all of us, filled with enchantment, sat and smiled.It has been stated that this film was the beginning of a new Disney renaissance. Following the success of The Little Mermaid, Disney produced such films as The Lion King, Beauty and the Beast, and Tarzan. With these filmic accomplishments, Disney, once again, became relevant. After the creative nadir of the 1980s, the studio began to make something greater than simple animated films – they created event pictures. The result was a decade in which palpable excitement existed for each Disney release. And while this sense of anticipation has eroded with the rise of so many exceptional competitors, Disney remains a name that you can trust . . . mostly.Writing, specifically, from a purely scientific viewpoint, it seems impossible that such an objectionable film create such offspring. How does a bad tree produce good fruit? Perhaps, this question is best left to our pop culture theorists. Perhaps, we may never know. Some might hypothesize that the answers rest with the clever marketing of the film or, maybe with the perky, hummable soundtrack. Whatever the reasons, the simple unavoidable truth is this: people like the movie. They do.But they shouldn’t. The Little Mermaid is an animated feature that carries with it a protagonist who is completely odious and, perhaps, irredeemable. Ariel lives her life as a mermaid princess with no respect for the feelings of others. She is selfish and irresponsible. Even in the first few scenes of the film, Ariel demonstrates her flair for heedlessness. As the central figure of an underwater Broadway-like production that is meant to showcase her budding talents, Ariel fails to take part in the rehearsals. She also fails to take part in the performance itself, leaving her sisters in quite an embarrassing situation. Certainly, they have practiced a great deal in an attempt to please their father. Their singing and choreography demonstrates this. But, the practice is wasted. Undoubtedly, the pain of this moment for Ariel’s sisters must cut deeper because of the fact that Ariel seems inexplicably to be King Triton’s favorite. One can only speculate as to why this is the case. Ariel doesn’t have a mother and, maybe, as the youngest child, she reminds her father of the married life that he once had. Also, and unfortunately, there is the chance that King Triton respects Ariel’s essential joie de vivre. While caring for her well-being, he secretly admires her freedom and youth. Not knowing the intricacies of mermaid mores, it is difficult to ascertain with certainty any type of truth on these issues.However, we know what we see, and what we see is an incredible disrespect, not only for Ariel’s father/king, but also for those whom she calls friends. Again, early in the film Ariel is instructed by her father not to go to the surface. It’s dangerous and, as a loving parent, he cares for her safety. But, to put it frankly, Ariel doesn’t care about her father’s wishes. She only cares for herself and nothing will stop her in her pursuit for human contact. In chasing this dream, Ariel also puts her friends in danger. She takes Flounder through shark-infested waters in an attempt to get closer to humans, whose garbage she is hording in an underwater cave. After Sebastian enters her life as a chaperone, she continues on her decadent ways without caring how her choices will affect Sebastian’s standing with the king. While King Triton loves his daughter, he also proves to be vengeful and impetuous, which are not exactly the ideal traits to work under for Sebastian, especially if you are doomed to fail.In a jarringly ironic scene, Sebastian pleads with Ariel to change her ways. His entreaty comes in the form of a song. “The seaweed is always greener in somebody else’s lake,” Sebastian opines. “You dream about going up there, but that is a big mistake. Just look at the world around you, right here on the ocean floor. Such wonderful things surround you. What more are you looking for?” It’s truly a lively, plucky tune, and Sebastian attempts to amplify its affect by arranging it as an accompaniment to a dynamic dance sequence, featuring a diverse group of undersea life. But it has no affect on the selfish princess. In fact, she leaves in the middle of the song. Here is the irony. During a sparkling performance that makes the human viewer want to join the sea, Ariel’s resolve becomes greater – she will “be where the people are.” The affect that this decision must have had on Sebastian and the other sea creatures cannot be overstated. What’s wrong with their lives? Are they not good enough for Ariel? Clearly, to Ariel, there is something wrong with their lives. Clearly, they are not good enough. And so it goes that Ariel essentially chooses the prince over her father. Her infatuation with humans usurps any type of feelings that she has for her home. It should be stated now that Ariel is only sixteen years old. The repercussions of this fact are immense. In contemporary terms, she is, after all, underage. It might be legal for her to marry the prince in his culture, but is it right? Is she emotionally prepared to commit to an adult male of a different species? Of course, Ariel is quite precocious, but the film gives no indication that she will have the maturity to handle this change. Interestingly, by following through with these morally questionable actions, Ariel shows as much disdain for contemporary culture as she does for her own culture. She breaks the acceptable standards of King Triton’s laws and does likewise with the elementary values of the viewer. Surely, this should alienate Ariel from all who know her. Yet, somehow, it doesn’t. Apologists may surmise that Ariel’s age explains her impetuous behavior and even justifies it, but it’s certainly undeniable that her actions throughout the film are negative and hurtful. Ariel’s deeds might be understandable, but they are not acceptable. Most shameful of all is Ariel’s insistence on fraternizing and even desiring to become part of a society that is certainly the mortal enemy of her own. After all, the humans eat fish. In fact, as the human society rests on the seashore, it’s clear that the inhabitants of this township depend on shipping and fishing for their livelihood. What could be worse than a sea princess desiring to become part of a civilization that must destroy her own civilization to survive? Ariel, for whatever reason, cannot see the moral and mortal implications of her choices. Surely, a love affair between Anne Frank and Adolf Hitler would be a fair comparison to the deleterious decisions of Ariel. When she receives her legs, Ariel is ethically and literally a fish-out-of-water. She’s sleeping with the enemy. She’s endorsing the genocide that is taking place everyday in the home of her family and friends. To make matters worse, there is always the possibility, and maybe probability, that Ariel will ask the humans to stop eating fish, a request that is both laughable and misguided. What will happen to the human’s economy? How will they survive without their chief source of food? Even after choosing to reject her own civilization, Ariel must make another choice: will she allow the humans to continue to eat her old friends or will she destroy the livelihood of her new friends? Perhaps, the answer comes in a scene late in the film. After Ariel receives her legs, she dines with the prince. In a remarkably horrifying sequence, a food-crazed Frenchman chases Ariel’s friend Sebastian around a kitchen. Sebastian flees onto a plate that is meant for Ariel’s dining party. Following a bit of funny business, Sebastian escapes, but Ariel is left with a quandary. Does she eat the fish that must have been prepared for her or does she refuse to eat someone who could possibly be one of her friends? Later, Ariel’s subsequent choice is made clear, as the prince never mentions any difficulty that Ariel has had living in his kingdom. She must have eaten the fish. Thus, Ariel must have made the conscious choice to become a cannibal. While it’s questionable whether Ariel had difficulty swallowing her friends, it’s clear that fans of The Little Mermaid had no difficulty in swallowing Ariel’s choice. As the main architects of this film, directors Ron Clements and John Musker, as well as screenwriter Roger Allers, have given the people what they wanted. They have created a world where the Anglo-Saxon hegemony rules. To truly live, one must be a European descended white person. This is what Ariel believes. Thus, some viewers might find Ariel’s desires reasonable and tolerable because they are themselves European descended white people. “Obviously, Ariel would want to be one of us,” these people might assume. “Why wouldn’t she want to a part of my culture?” Hence, The Little Mermaid succeeded at the box office. This fact produces a grim portrait of modern-day society. Many can’t understand the value of other cultures – in this case, the world under the sea. With this in mind, clearly, each person who saw the film and left with a smile on his or her face must have felt the inherent acceptability of Ariel’s actions. People need others to want them. Ariel fulfills this need. She wants to be like the culturally dominant majority in America. Yet, the value of this is arguable. What about the richness of difference? What about distinctiveness? To be sure, in a more progressive version of this film the prince might have ended up in the sea or Ariel might have remained among her people after realizing the uniqueness and greatness of her own culture. Interestingly, Ariel’s journey becomes, expectedly, a lateral move. She goes from being a princess to being a princess. For the filmmakers, it would be horrific to imagine Ariel falling in love with, say, a peasant or a lowly farmer. However touching this sacrifice of status would be, it’s not what the audience, this movie’s audience, wants to see. Certainly, these things would have given the film a message and an inimitability one could more fully respect. But Clements, Musker, and Allers didn’t see it that way, and their blindness guided them right into the hearts of millions. Some have said that the process of watching a film (or, in this case, a movie) is less demanding than the process of partaking in any other form of art. Movies envelop us. They require so very little. They give and give, never asking us to take. The Little Mermaid, then, seems like a most gracious philanthropist. It offers cotton candy for the soul, and it does so without any sense of its own shortcomings. Accordingly, we eat, never considering that we are being made fat with the unfathomable, selfish yearnings of a fish. Maybe moral constructs should not be placed on a fictional cartoon character such as Ariel. Maybe successful family movies don’t deserve harangues from not-so-successful film critics. But, it is my belief that, with Ariel’s desire to walk, she is, in fact, standing for something. She represents the lazy and misguided efforts of filmmakers everywhere who believe that frolicking magic, whether it is special effects or dancing, singing anthropomorphized animals, can replace thoughtful excellence. Attentive decency isn’t required. I just don’t want to watch any more whining brats passed off as heroines.Thus, our favorite little mermaid proves to be a self-centered, inconsiderate, possibly racist, cannibalistic, wasted piece of fish flesh. That’s my opinion. And my opinion isn’t wrong.
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Saturday, March 22nd, 2008

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The erosion of the freedom of speech in U.S. high schools is a timely idea for a movie, but Josh Stolberg’s “Kids in America” is not it. Instead of a sharp, caustic satire, Stolberg and co-writer Andrew Shaifer have turned out a comedy so inane and tedious that it buries its premise and its various worthy points under too many arch and improbable shenanigans and endless dialogue, much of it seriously under-inspired. Julie Bowen plays a close-minded, dictatorial and politically ambitious high school principal whose increasingly censorious policies spark a rebellion, fueled by a progressive teacher’s assigning his students to collaborate on a video that will “change the world.” ADVERTISEMENT Gregory Smith and Stephanie Sherrin are the film’s likable leads, and among the more familiar faces in a large cast are Rosanna Arquette as Sherrin’s mother, Elizabeth Perkins as another parent, George Wendt as the school’s football coach and Nicole Richie as a cheerleader. Kids in America,” PG-13 for sexual content, mature thematic elements and language. Running time: 1 hour, 31 minutes. In general release.
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Friday, March 21st, 2008

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The vintage suspense mysteries of Cornell Woolrich, with their bravura plots and romantic fatalism, remain eminently readable, and “Phantom Lady” (1944) and “Deadline at Dawn” (1946) are durable entertainments. Alfred Hitchcock’s “Rear Window” is based on a Woolrich short story, and Francois Truffaut filmed his “The Bride Wore Black” with Jeanne Moreau as a striking homage to Hitchcock. No such pleasure awaits in watching director Michael Cristofer’s disastrous adaptation of Woolrich’s 1947 “Waltz Into Darkness,” renamed “Original Sin” for the screen and starring Antonio Banderas and Angelina Jolie. ADVERTISEMENT Cristofer, a Pulitzer Prize-winning playwright, made his film directorial debut with HBO’s “Gia,” which won Jolie 1999 Screen Actors Guild and Golden Globe best actress awards for her performance as supermodel Gia Carangi, dead at 26 from the complications of AIDS. Cristofer, however, is seriously miscast as the man to bring to the screen an extravagantly melodramatic 19th century love story. The one director who for sure would have gotten away with such material would be Banderas’ mentor Pedro Almodovar, expert at wringing humor and pathos from lurid, over-the-top plots and characters. Cristofer’s approach is relentlessly serious and dead-on, devoid of humor, wit or personality. Perversely, Banderas and Jolie are ideally cast and give their all to their roles. Banderas is Cuban tobacco planter Luis Antonio Vargas, who doesn’t want a wife who marries him only for his money. Jolie’s Julia Russell is an American who doesn’t want a husband who wants her just for her looks–or so she says. Passing himself off as a clerk in the cigar factory he owns with Jack Thompson’s Alan Jordan, an avuncular American (with an unconvincing Southern accent), Vargas accepts picture bride Julia as she disembarks in Havana, not surprisingly forgiving her that she sent him a likeness of a far plainer woman. After a wedding that could easily go down as the fanciest in Cuban history, the swiftly smitten Vargas is a gentleman who allows Julia time to get to know him before attempting to consummate their marriage. When the moment arrives, Julia responds to him with unabashed ardor; ecstatically happy, Vargas has fallen in love for the first time in his life. He should have been listening more closely, however, when Julia remarked that “neither of us can be trusted.” That’s only half true–Vargas actually is an open, even innocent man with nothing to hide, but he really knows nothing definite about his bride, whose refusal to respond to her sister’s letters from America understandably puzzles him. Even though Julia seems happy herself, there is an aura of mystery and even sadness about this boldly sensual woman who proves to be a classic femme fatale . A menacing man (scenery-chewing Thomas Jane) from Julia’s past turns up, farfetched plot developments escalate at a dizzying pace–and “Original Sin” plunges into protracted, tedious ludicrousness. It’s too labored and ponderous to qualify as a so-bad-it’s-good amusement. “Original Sin” is merely an old-fashioned bore. MPAA rating: R, for strong sexual content and some violence. Times guidelines: nudity, fairly explicit sex. Original Sin Antonio Banderas: Luis Antonio Vargas Angelina Jolie: Julia Russell Thomas Jane: Walter Downs Jack Thompson: Alan Jordan An MGM Pictures presentation in association with Hyde Park Entertainment of a Via Rosa/Di Novi Pictures production in association with Intermedia/UGC International. Writer-director Michael Cristofer. Based on the novel “Waltz Into Darkness” by Cornell Woolrich. Producers Denise Di Nove, Kate Guinzberg and Carol Lees. Executive producers Sheldon Abend, Ashok Amritaj, David Hoberman. Cinematographer Rodrigo Prieto. Editor Eric Sears. Music Terence Blanchard. Costumes Donna Zakowska. Production designer David J. Bomba.. Art director John Jensen. Set decorator Beth Rubino. Running time: 1 hour, 55 minutes. In general release.
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