Not exact matches
The
film is loosely based
on the ABSCAM investigation of the late 1970s and early 1980s, in which the FBI got several members of Congress
on videotape agreeing to accept bribes
from a man they
thought was a wealthy Arab sheik.
The images
from the
film are forever imprinted
on my mind, and I still
think of Moses as Charlton Heston and Pharaoh as Yul Brynner.
I'm not sure the
film even needs such a premise to be effective, (in fact, it may distract
from the main point a bit... and I hate to
think there are people who need it to be reversed in order to empathize), for what really moved me was its depiction of bullying, which is based
on real reports
from LGBT kids.
While I'm not quite sure what to do with all the information
from the
film, I
think it has a good point about protein and what «needs» to be
on our plates at meal time.
The coda to the TurinGames will be inspired by Venice's annual winter Carnevale —
think acrobats,high - wire acts and actors in costumes
from the 1971 Fellini
film The Clowns.When the tumbling is over, Italian tenor Andrea Bocelli (above) will performand pass the Olympic torch to Canadian pop star Avril Lavigne, who will acceptit
on behalf of the host of the 2010 Games, Vancouver.
I hope you see the
film and let me know what you
think by posting
on our Facebook Group page, http://groups.to/includingsamuel/ Looking forward to hearing
from many of you!
I can
think of more than a few presidential candidates who would benefit
from watching this
film,
from Mitt «Our most basic civil liberty is the right to be kept alive» Romney to Ron «Lincoln was a despot» Paul to all the Democrats who didn't stand with Chris Dodd
on the FISA bill.
Instead, we see
films based
on a huge range of issues,
from immigration to healthcare to Islam, which pushed the intellectual envelope and provided entertainment and food for
thought for political fanatics everywhere.
In a Daily Politics
film, Giles Dilnot puts
on a
thinking cap to look at what they do with Nick Pearce,
from the Institute for Public Policy Research, and Conservative MP Charlotte Leslie, who was at the Policy Exchange
think tank.
«Knowing what we know now...
film footage of Dealey Plaza
from November 22, 1963, seems pregnant with enigmas and ironies —
from the oddly expectant expressions
on the faces of the onlookers
on the grassy knoll in the instants before the shots were fired (What were they
thinking?)
So Shostak — who has advised Hollywood
on a number of feature
films, including 1997's «Contact» —
thinks this year's surge may just be part of Hollywood's regular cycle, which tends to feature waves of alien movies
from time to time.
Like the dad who smeared peanut butter
on his toddler's nose, then waited for a bear to lick it off (photo op, he'd explained) or the dude who left a cookie trail leading
from his backyard to his couch because he
thought it'd be fun to, you know,
film a bear eating cookies while watching TV.
I would
think turning the jars would disrupt any of the organisms
from creating a
film on the top of the liquid
a predictable
film that could have benefited
from a little more
thought and perhaps less reliance
on clichés.
«The Shape of Things» marks the last good
film LaBute has made (for whatever reason he moves
on to goofy Hollywood thrillers like «The Wicker Man» and «Lakeview Terrace» and the embarrassing «Death at a Funeral» remake - one would
think those
films were
from a totally different human all together; my bet is he became a drug addict because no one looses such talent so quickly) but this wonderful, tricky and rewarding series of
films is well worth your serious time and attention.
As you watch any of those
films, you
think about what they're trying to say, or what they «mean,» or
on a much simpler level, what the heck is happening
from one minute to the next.
American Pie Presents The Naked Mile's latter half, as a result, moves along at a plodding pace that's compounded by an episodic structure, as the movie lurches
from one ill - conceived set - piece to the next with little
thought towards momentum or consistency - which inevitably does confirm the
film's place as just another interminable waste of time designed to cash in
on the original trilogy's success.
-- but the issue was raised in the hubbub around the fourth
film from Quentin Tarantino, Kill Bill: Volume 1, so I
think we're owed an answer
on this pressing matter.
But there's absolutely no flow to the
film's screenplay - which is based
on a series of short stories by J.T. LeRoy - as it lurches
from one vignette to the next, without any
thought to keeping the audience engaged.
If you look at the start of the
film carefully, when the crew is first getting into the alien mothership, you can see what look like pockmarks
on a wall
from zap gun fire, I
think.
The best performances lie with the supporting players (aside
from Umbers, who's so dull that you'd
think he was one of the many statues you see throughout the
film), and the finest one comes
from Tom Wilkinson, playing a twice - divorced man who sets his sights
on Stella, knowing full well she'd be in it just for the money.
Sure, this
film's subtlety lapses are limited in quantity, and even when they're at their very worst, a descent into just plain corny is never made, or at least very rarely made («I
thought I was gonna die
from your love»...), but this drama can only go
on for so long before slipping out of relative consistency in bonafide resonance, which isn't to say that unevenness ends there.
It is this commonality that brings them together in scenes that brought
on surprising tears in a
film I
thought would be entirely too silly
from the trailer.
By the way, speaking of names invoked, it was nice to hear the names John Huston and John Ford mentioned
on your site along with your listing of some of their masterpieces (personally, I
think that just about every other
film John Ford made
from Stagecoach
on to his retirement was a masterpiece).
On a second viewing, I hope that the
film undergoes a transformation
from a structuralist to a post-structuralist school of
thought after that demolition scene.
Robert Redford is both informative and charming in his commentary track, where he chronicles the making of the
film in great detail (it was a pet project of his
from way back in 1972 when the Watergate break - in occurred) and offers his own personal
thoughts on the legacy of the
film and the events it depicts.
Many would say that the Mission: Impossible
films rest
on Cruise's shoulders, which it does when it comes to getting consumers in seats, but I
think this
film was able to remove itself
from the mediocrity shown in M: I 2 because of Hoffman's performance.
Therefore, one would
think that if a
film is going to be made
on the topic, it should either shed new light or portray it
from another perspective.
Steven Spielberg serves as producer
on this latest
film from director J.J. Abrams, and if you hadn't seen the credits or been told beforehand, you might well
think he'd done more than produce.
This
film is actually terrible — I mean, yeah — it is scary in the sense that its creepy, but I
think, really, the
film is just the byproduct of global DVD residuals
from the directors father — allowing Panatos to string together a series of overproduced, overgrained interior sequences, cheap synth score and a slasher movie ending, and trying to pass it off as a «cult movie», when really we, the audience, need to know who, what or where the protagonist is coming
from, what her dramatic need is, who she interacts with, and so
on.
Unlike many of the slasher / zombie / out and out horror
films, FAULTS relies
on its fear coming
from the audience's involvement and its ability to provoke
thoughts.
The
film is framed as a documentary —
think The Office or Best in Show — and follows Harding
from the trailer park with her foulmouthed mother (played by Allison Janney, who is already generating Oscar buzz) to the skating arena to the infamous Nancy Kerrigan hit that would define her life
from there
on out.
In that 1982 media - age satire
from Martin Scorsese, a
film that becomes more prophetic with each passing year, Pupkin is a struggling comedian obsessed with talk - show host Jerry Langford (a self - parodying Jerry Lewis) and the
thought of appearing
on his program.
Rather than looking at the
films from an objective point of view, they largely settle
on things like, «The audience
thought they were paying to see TV in the theater!»
But what we learn
from the book and the
film is that, in all likelihood, McCandless had no regrets and that he was never happier than in the final months he lived
on his own in the wilds of Alaska, with nothing but his
thoughts and reflections
on a short life, but one he lived honestly and
on his own terms.
Ingrid Goes West will make you
think twice when you next log into post the latest photo of yourself
on whatever social media platform you frequent and thanks to standout performances
from its two lead actresses, Spicer's impressive debut
film overcomes some highly implausible plot developments to become a memorable and in many ways important musing
on our growing dependency to be connected to an often fanciful online world.
The dreamy and detached feel of the
film sets it apart
from most horror
films, in a way that makes it sneak under your skin (heh), becoming more disturbing as you
think back
on it even than it was while viewing.
Little is known about the plot, but a short synopsis posted
on casting database site suggests that we can look forward to more of the same: «Picking up where the 2007
film left off with the incompetent underboss Kirill
thinking that he and his henchman driver Nikolai really have inherited the throne
from his crime - lord father, without knowing that Nikolai is actually a clandestine agent working undercover in Russia's federal security service.»
We will have our full interview with Alan Howarth up later this month, in which we discuss the musician's writing process, his
thoughts on the Halloween
films he contributed to, and learning
from the School of Carpenter.
With a resume that big, it's tough to say how accurate the number is, but if you
thought this might be the one with which Corman would break
from the cheap, crass playbook he's relied
on for over fifty years, then take another look at the cover art above and notice that the
film is called Camel Spiders.
I recorded a video blog reaction with my
thoughts on the
film with Steve
from Collider.
But 20th Century Fox seem to
think they might have something, as they moved the
film from an inauspicious January release date to the height of Oscar season,
on a similar date to the one that proved so successful with «Life Of Pi» last year.
Finally, «Through the Producer's Lens» (4:04) has Kathleen Kennedy share her photographs
from the set and her
thoughts on the
film.
As you're watching the trailer, every time you
think you're understanding what's going
on with this
film and it's tone, it completely pulls the rug out
from under you.
On the surface you may
think a
film could be fun with: The ER doctor
from The Hangover, Thorin
from The Hobbit, and Lori
from The Walking Dead.
Armies swoop towards one another across a vast plain, each group displaying their own intricate maneuvers and battle strategies, wielding their own specific weaponry, making one
think it could be a deleted scene
from John Woo's «Red Cliff,» or that a fussy Middle Earth equivalent of John Keegan had been a consultant
on the
film, providing information
on how the dwarf infantry worked, and how the elves moved in formation.
The Rock does show good screen presence, and definitely fits the role of the sergeant well, but he isn't really
on screen as much as you might
think from the billing, and he also isn't the most interesting character of the
film.
Nicole Kidman is being mentioned as a possibility for «Cold Mountain,» but I'm lukewarm
on the
film and
think the other three nominees will be Jennifer Connelly, for «The House of Sand and Fog» (they respect her transition
from sexpot to serious actress) and Patricia Clarkson for the low - profile but much appreciated «The Station Agent.»
I
thought as the
film went
on their performances got stronger simply because what was happening in the story required a certain reaction
from each actor.
We reported
on the
film from the Glasgow
Film Festival, so check out further
thoughts here.