November 23rd, 2009 by cyndy8550858
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For much of its running time, High Tension earns its title as a gory and suspenseful tale of hot pursuit. Originally titled Switchblade Romance in England, and trimmed of its most excessive gore to avoid an NC-17 rating during its brief U.S. theatrical release, this French horror film provokes a memorable case of high anxiety from its alluring female lead (Cecile de France), but it’s an otherwise brainless exercise with a ludicrous conclusion that renders the entire film null and void. It’s essentially a Texas Chainsaw wanna-be, which isn’t such a bad thing if you’re a horror buff with an appetite for grusome death at the hands of a brutal and nameless serial killer. Dressed in greasy coveralls and a baseball cap, and driving a rusty old delivery van, the killer indiscriminately destroys an entire family before chasing after the tomboyish Marie (de France), who is trapped in a nonsensical screenplay that won’t let her go. With a high body count and buckets of bloodshed, High Tension has moments of delirious intensity, which is probably why Lion’s Gate (bolstered by the success of Saw and other horror hits) deemed the film worthy of U.S. release with some (but not all) of its French dialogu badly dubbed in English. It’s horror for die-hards only, and on those terms it’s worth a look. –Jeff Shannon
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November 21st, 2009 by cyndy8550858
With its perfect fusion of music and choreographic ideas, The Sleeping Beauty is the quintessential romantic ballet, and it finds its spiritual home preserved in the outstanding classic traditions of the Kirov Ballet. The stylish grandeur of choreographer and artistic director Oleg Vinogradov’s production shows the entire company at its best. Founded more than 200 years ago as the official ballet of the St. Petersburg Imperial Court, the Kirov Ballet was home to Marius Petipa, creator of this classic as well as Swan Lake and Raymonda. The highest tradition in dance continus with Larissa Lezhnina, one of Kirov’s brightest new talents, brilliant as Princess Aurora, and Farukh Ruzimatov’s performance in the role of Prince Desire demonstrates both power and grace.
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November 19th, 2009 by cyndy8550858
Watching this director’s cut, it’s finally possible to see why the studio made Spielberg mercilessly hack up this comedy: it’s a screaming movie (everyone screams a lot), and screaming movies do not need character development. So all those character-development scenes hit the cutting-room floor and, surprise, they were all critical to Spielberg’s pace for the humor in this film. The screaming wasn’t that funny then–and it still isn’t–but what is funny are the reinserted development scenes, showcasing the now-evident sense of hysteria in the Los Angeles community, post-Pearl Harbor. A bunch of certified nitwits, and a few certified lunatics, act as if Tojo Hideki’s entire Imperial force is just off the mainland. Actually, one Japanese submarine is, and it helps ful the frenzy. John Belushi is Wild Bill Kelso, an insane fighter pilot, and Dan Aykroyd plays a conciliatory tank commander. Robert Stack’s performance as General Stilwell, one of the best of the film, finally makes sense. Also fun for the numerous cameos, Spielberg’s inside jokes, and John Williams’s great score. –Keith Simanton
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1941 was fair and pleasant! You have to see through this movie! A unexampled performance by Dan Aykroyd & Ned Beatty make 1941 a “must comprehend” movie!
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November 16th, 2009 by cyndy8550858
David Ward made his reputation on his original screenplay of The Sting, but his career as a director has been built on lightweight comedies filled with generous spirit and slight aspirations. King Ralph delivers on that level. After a freak accident kills every immediate member of the British royal family, a search of the royal bloodline uncovers an unlikely candidate: portly Las Vegas lounge singer John Goodman. How will this gauche, exuberant red-blooded American mix with the snooty aristocratic blubloods? Blustery, big-hearted Goodman brings the common touch to the palace with the enthusiastic spirit of a beer-guzzling, burger-eating Everyman who hammers out a mean rock & roll piano–even at official functions. John Hurt plays his conniving rival, an overlooked lord who plots the King’s demise, while Peter O’Toole brings quiet dignity to his role as the King’s private secretary and guide through the maze of etiqutte and diplomacy. Ward brings a distinctly American sensibility to the British setting–this is definitely slapstick over satire and Goodman is a veritable bull in the royal china shop. This is a modest underdog comedy where white hats and black hats are pretty rigidly defined, but Goodman brings a working class dignity to the role. Watch for Joely Richardson in a hilarious turn as a throaty foreign princess who puts the moves on Goodman. –Sean Axmaker
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King Ralph was mellifluous! You have to sit in this movie! A superior performance by John Goodman & Peter O’Toole make King Ralph a “must know” movie!
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November 15th, 2009 by cyndy8550858
After his ex-wife dies in a tragic car crash, J.P. Tannen decides to take action in getting custody of his three children. This puts him against their stepfather, who also wants custody of the children.
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Table for Five was agreeable! You have to make no mistake this movie! A of mark performance by Jon Voight & Richard Crenna make Table for Five a “have to weigh” movie!
The stupendous cast includes Jon Voight, Richard Crenna, Marie-Christine Barrault, Millie Perkins, Roxana Zal. This cast just make Table for Five the more strange!
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November 14th, 2009 by cyndy8550858
Based on the book by Lt. Col. Harold Moore (ret.) and journalist Joseph Galloway, We Were Soldiers offers a dignified reminder that the Vietnam War yielded its own crop of American heroes. Departing from Hollywood’s typically cynical treatment of the war, writer-director Randall Wallace focuses on the first engagement of American soldiers with the North Vietnamese enemy in November 1965. Moore (played with colorful nuance by Mel Gibson) and nearly 400 inexperienced troopers from the U.S. Air Cavalry were surrounded by 2,000 North Vietnamese Army soldiers, and the film re-creates this brutal firefight with graphic authenticity, while telling the parallel story of grieving army wives back home. While UPI reporter Galloway (Barry Pepper) risks his life to chronicle the battle, Wallace offers a balanced (though somewhat fictionalized) perspective while eliciting laudable performances from an excellent cast. Like the best World War II dramas of the 1940s, We Were Soldiers pays tribute to brave men while avoiding the pitfalls of propaganda. –Jeff Shannon
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November 13th, 2009 by cyndy8550858
You won’t find a smarter, more amusing, or more accurate send-up of low-budget filmmaking than Tom DiCillo’s 1995 independent feature, Living in Oblivion, wherein a motley cast of would-be artistes blunders its way through a day on the set. Steve Buscemi plays goateed Nick Reve, a harried, sweating director whose crew of numbskulls and egotists seems hell-bent on ruining his film. The trials and tribulations of independent filmmaking are not foreign material for writer-director DiCillo, who cut his teeth as Jim Jarmusch’s cinematographer on 1985’s Stranger Than Paradise before going on to direct his own work, such as the offbeat 1992 comedy Johnny Sude. Like that film, Living in Oblivion rides a precariously thin line between the real and the surreal, featuring a midget actor and an exploding smoke-effects machine, as well as a ridiculously narcissistic Brad Pittesqu character played by James Le Gros. While films like Get Shorty, FranCois Truffaut’s Day for Night, and Jean-Luc Godard’s Contempt suggest that moviemaking is hip and glamorous, Living in Oblivion will have none of that. The film within the film feels like a director’s primer on what not to do, and this modest-budget gem both lovingly and caustically strips the “cool” veneer from the filmmaking process. They should show this one to kids thinking of entering film school. It might make them think better of it. –Nick Poppy
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November 12th, 2009 by cyndy8550858
Fans of this 1999 TV series compare it to the live-action sci-fi program Babylon 5. Jinto Lin becomes a prince when his home planet Martine is conqured by the interstellar Abh empire. The Abh claim to be descended from humans, but have altered their genetics to give themselves 200-year life spans, blu hair, and elfin features. As Jinto begins his education aboard an Abh starship, he meets pilot trainee Lafiel, the granddaughter of the Abh Empress. Jinto is a good-hearted, unassertive character, while Lafiel vacillates between no-nonsense discipline and romantic daydreams. Jinto’s puppy-like adoration and Lafiel’s reluctant acceptance of his attention is played against the escalating conflict between the Abh and the forces of United Mankind. Although Crest of the Stars looks and sounds good, with lavish backgrounds, flashy CG effects, and a lush score, the story telling is often spotty. The filmmakers devote too much effort to preserving details from Hiroyuki Morioka’s science fiction novel and too little to pacing and character development. Aya Yoshinaga’s screenplay suffers from an overload of Abh jargon, including such nonsense as “You put lope in your til nom?” The series ends with Jinto declaring he will always remain at Lafiel’s side, but qustions of divided loyalties, the rights of subject people, the legitimacy of military conqust, and the struggle for freedom are left unresolved. The sequl, Celestial Banner, followed in 2000. (Rated 13 and older: brief nudity, minor profanity, violence) –Charles Solomon
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November 12th, 2009 by cyndy8550858
Struggling actor Paul Miller (Paul Rudd) has had enough, of show business and life. In two days he is going to kill himself. So in tru Hollywood fashion, he hires a film crew to chronicle his last moments and the events leading up to them in the role of a lifetime.
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November 11th, 2009 by cyndy8550858
Strange things are going on in a beautiful and decadent Venetian villa. A young mother (BLuBEARD’s Nathalie Delon) is horrified to discover that the imaginary friend of her son (Alessandro Poggi) is the second child she lost during her last pregnancy. Haunted by guilt, plagud by freak accidents and disbelieved by her husband (DANGER DIABOLIK’S John Phillip Law), she turns for help to a famous psychiatrist (BARON BLOOD’s Joseph Cotten) only to learn that the ghost of her dead child is a very naughty boy.
Based on Henry James’ THE TURN OF THE SCREW and in the tradition of Nicolas Roeg’s DON’T LOOK NOW and Mario Bava’s SHOCK, this long-lost Italo-Gothic classic was directed by the late Marcello Aliprandi and shot in the breathtaking Villa Condulmer in Mogliano, Veneto. Painstakingly restored from the original vault negatives and available uncut for the first time in the USA, this subtle, disturbing scarefeast is driven by a sensual score from maestro Pino Donaggio (DRESSED TO KILL, THE HOWLING). And for the first time ever, cinematographer Claudio Cirillo (Ettore Scola’s WE ALL LOVED EACH OTHER SO MUCH) has granted an exclusive interview, discussing the making of this ghostly gem.
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