Archive for August, 2009

Life or Something Like It review

Monday, August 31st, 2009


Angelina Jolie made a first-class deportment hero as “Lara Croft: Sepulchre Raider,” staid if the movie itself was nothing to talk about. The mystery here is whether she could do the but thing as the lead in a fancied comedy. The satisfy, revealed all too evidently in 2002’s “Life or Something Liking It,” is no.

In called-for to enjoy Ms. Jolie or the movie, the viewer is faced with overcoming several significant obstacles. The first hurdle is accepting Ms. Jolie as a native news reporter being considered for a key position by a ample television network. Now, don’t get me wrong: Ms. Jolie has any number of natural endowments, not the least of which is her acting forte. But in this anecdote she has a hard time getting us to believe in her. She plays Lanie Kerrigan, as a foetus a pudgy little thing in devoted glasses who has been grooming her display ever since and arranging every in depth of her animation meticulously to win the approval of family and friends. The upshot is that as an adult she has developed into a knockout, albeit joke who is snippy and self-admiring. But would a major network in point of fact be looking for a rough, curvacious, discontinue-dead gorgeous, blonde bombshell who wears bright-red dresses and impenetrable-fitting sweaters for their news desk?

Besides which, Lanie, while a vivid being, hasn’t an original thought in her head, and she’s wrapped up to a baseball star (Christian Kane) who not on the other hand hasn’t an genuine thought, he hasn’t any thoughts at all. If the movie were a sarcasm, one could understand the exaggeration of a fictional network’s desire to go for blatant mating appeal, but this is presumed to be a relatively serious, non-inventiveness romantic comedy, and the viewer needs to be able to stand most of it as at least within the palatinate of possibility.

The approve of impediment to rout is the movie’s pre-eminent idea; namely, that Lanie is told by a street-corner prophet that she has on the other hand a week left to live. That in itself is rather a inflexible rationale pro a film not intended as black comedy but as a light, jaunty romance. Obstruction multitude three is that Lanie believes the prophecy. The movie’s theme has to do with recognizing the shallowness in oneself and others and trying to do happier. That’s a noble message for any story to persist, but in this case it is presented in so implausible a at work, it’s hard to embrace. The soothsayer, “Prophet Jack” (Tony Shalhaub), is a scruffy, unsettled guy who makes predictions on the Seattle sidewalks for let go of modify. You’re going to difference your life on his advice? Worse, there is no apprehension involved in whether Lanie is really flourishing to face an injury or an calamity because the movie begins with her in a medical predicament allowance, apparently dying!

Obstruction number four is costar Edward Burns as Pete, a free-spirited cameraman who is the alternative think the world of interest for Lanie, although neither Lanie nor Pete knows it when the movie opens. In the oldest glamorous-comedy tradition, when we maiden meet them they abominate each other, yet we know they’re inevitably going to find an attraction. What’s more, Pete is the antithesis of Lanie; he’s hep to and levelheaded and tries to talk her out of her egocentric ways. In fact, he’s too chattels to be true, working whenever he feels like it because he says there’s more to life than money. Notwithstanding how, in spite of his open-handed and liberated philosophy, he is, like the cinema, basically unoriginal, and no chemistry ever develops between him and Lanie. They submission in partiality and sleep together, but the audience conditions knows why.

Which brings up hurdle number five: Everything in the take can be foretold an hour in advance. I mean, it doesn’t take a “Prophet Jack” to tell how this thing is going to proceed and how it’s going to end up. And it turns extinguished just the way you expect. Of course, romantic comedies are supposed to obtain happy endings with the right people once getting together, but at least there should be a not many surprises and dialect mayhap a few laughs along the in the works. Where’s the tomfoolery in not having that?


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27 Club review

Thursday, August 27th, 2009

Devastation and abandonment in the wake of suicide haunt Erica Dunton’s downbeat road moving picture, “The 27 Blackjack.” Joe Anderson (”Across the Universe”) turns in an intense, anguished performance as the pink-behind half of a renowned rock duo. Hiring a hick supermarket checkout attendant as driver, the grieving musician takes off on a cross-country trek, soon joined by a hitchhiking Irish colleen. All the same staunchly maintaining a wryly observed interaction between the motley, convertible-bound threesome, the pic fails to get much mileage out of encounters along the way. Anyway, a solid musical vile and tie-in with Kurt Cobain-pattern self-extinction could score with nook auds.

When his adopted brother/partner/best friend Tom (James Forgey) voluntarily, if unexpectedly, joins the “27 Club” (the pop culture term for celebrated musicians who expire at that unnatural age include Brian Jones, Jimmy Hendrix, Janis Joplin, Jim Morrison and Cobain), Elliot (Anderson), the surviving co-leader of the fictional rock band Finn, loses his moorings.

As in her “Find Love” about a white-hot 24-hour romance, writer-director Dunton displays a light touch with strong emotional impulses that defy social norms. Elliot sits for long minutes in the morgue with red-rimmed eyes berating his lifelong buddy’s corpse for leaving him bereft.

Dunton proves equally adept at establishing, through short flashbacks a remarkably convincing musical backstory for the two, from early boyhood musical noodlings to scenes of on-stage fame showcasing original songs composed and performed by Forgey and Anderson.

On the other hand, Dunton reveals virtually nothing of the car’s other occupants, beyond that the chauffeur (David Emrich, both actor and persona imported wholesale from “Find Love”) hails from a clan of matching-outfitted dorks and the girl, Stella (Eve Hewson, U-2’s Bono’s daughter), comes from Ireland.

Stella instantly deduces Elliot’s identity, but keeps mum. Instead, she names the driver Three Words, discovering in his speech a triplicate pattern that grants him a special rhythm. Their chummy romance allows Elliot the freedom to participate or not in the social exchanges in the car.

But aside from a slight tension about whether he will be recognized by locals, Elliot’s interactions are lacking in the ethnographic richness of classic road movies like “Two-Lane Blacktop” or “Five Easy Pieces.”

Elliot’s one significant encounter, with an alcoholic bum (Jimmy Hager) who introduces him to the real-life “Down by the Wayside” choir of the homeless, comes off as staged.

Stephen Thomson’s widescreen lensing reinforces the pic’s main dynamic, increasingly pulling Elliot out of the multimedia past into an unfolding present.

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American Virgin (2000)

Tuesday, August 25th, 2009

The Cinema:

There are certain movies that you would equivalent to to flush from your mind as quickly as possible. “American Virgin” is story of those movies, at least through despite me. “American Beauty” and “American Pie” star Mena Suvari stars in this film, renamed “American” (instead of “Live”) as it comes to video to take advantage of the star’s popularity in the other “American” films.

Suvari stars as Katrina, daughter of an adult veil producer whose competition has come up with an interactive mating make. Katrina wants her “first” adventure to be broadcast once more the network as some sort of interactive experience. Robert Loggia and Bob Hoskins, two otherwise full actors, fritter away the film’s race on occasion yelling threats at one another, and their words are weakly written and their actions are tiring to take note. The film tries to be either a satire or make sport of, but it surely says nothing about our culture except that assorted of the characters here shtick in a way that make most Jerry Springer participants look bright by comparison. The humor is terrible, and the actors stuggle to make sense of the poor talk.

Suvari is a charming, enjoyable actress who has done great post in both of the other “American” films; here, she is underused and her character is underwritten. We’re left watching the events of the fighting between the Loggia/Hoskins characters, which gets very boring very without delay. This is Suvari’s first role, and it’s one she’s cured off forgetting all round. “American Virgin” is also a photograph audiences are better off skipping.


Detective Sergeant Alonzo Harr…

Tuesday, August 25th, 2009

Detective Sergeant Alonzo Harris (Denzel Washington) is a 13 year inspect of the row wars
of crime riddled Los Angeles, a narcs officer who has developed his own way of handling
the crims on his beat. When rookie wanna be narcs cop Jake Hoyt (Ethan Hawke) is assigned
to spend his probationary training day with Alonzo, Jake is put through the toughest hoops
and the most confronting scenarios. Alonzo stretches the notions of law enforcement to
disclose his own picture of the crooked world, and he demands nothing less than total and
rash faithfulness from the rookie. The price is eternal salvation or damnation and damned if
Jake knows which comes word go.


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The Stars Fell on Henrietta (1995)

Monday, August 24th, 2009

Tracksounds Rating =

7/10



Composed by
David Benoit

Released by Varese Sarabande  1999

Track

Denominate

Dilly-dally

Rating



Eliminating,
but Sweet 

by Christopher Coleman

Jazz composer and pianist David Benoit has thrilled contemporary
jazz enthusiasts for years. Solitary might naturally count on a jazz score to come from him but
as opposed to he goes with a classic orchestral style.  His twenty dozens exchange for the

Stars fell on
Henrietta

is a light Americana piece sonically depicting the struggles of an
oil-driller during the great American depression. Many of the tracks mirror the main
story in one-liner variation or another. Of progression the piano is featured and is played in
Benoit?s leading style. The banjo appears in the main theme played by Endowment
Geissman,
which gives it that "plain-states" feel.  Also, the string sections are
in general stifled and solemn representing the overall depression of the ease age.  This
multitudes would fall into the same category as Richard Hartley?s

A Thousand Acres

,
Silvestri?s

Forrest Gump

, and diverse of James Horner?s lighter scores.
The Varese Sarabande well recorded release of this sum is very cut b stop, but fragrant. The
average track space fully is well under two minutes, with sole one track reaching four minutes
in length. This is pathetic destined for such a mannerly score.  Due to some sort of
legalities, the realized orchestra name or players are not listed, aside from the soloists.
 I'm sure it is some contract/union take exception.  
Solitary highlight is the final track,

Theme and
Variations

, which is a solo piano performance by David Benoit. It is one of the longer
tracks at just under four minutes, but in that brief time Benoit segregate-handedly brings
the story to preoccupation.  Also, the liner notes are more like
"liner-pictures."  There are no notes at all on the movie, score recording,
or anything else.  The away of the liner notes give you the underlying credits for the
film and that's it.  It could be that they were timorous to categorize capacious notes
since the CD might be over in preference to you finished reading them!  Handy! 
The themes are truly simple and in the style that can plumb pleasing to have on as you scan,
do homework, write the bills, or, my favorite, take a off guard!   Overall it is a
  information story, but the tracks are much too short thus making overall disc length
shorter than harmonious would hope fit.  I paid some $13 and no greater than feel a bit cheated due to
the length.  What there is of the score is perfectly nice.

1

Main Call

3:33

****

2

A Renewed Start

2:26

****

3

The Stalking Begins

2:09

***

4

Divining Matilda

2:43

***

5

Festivies Begin

2:13

***

6

June 19th

2:12

***

7

Open to California

1:16

**

8

X Marks the Spot

2:15

****

9

I'm So Wretched

1:32

****

10

The Develop Sputters

1:11

****

11

The Big Boom

2:04

***

12

Goodbye Mr. Cox

0:44

***

13

Finish Credits

1:44

****

14

Themes
and Variations

3:58
****

Thorough PlayingTime


39:46


List


Score

Layer
Continuity

na

Originality

7
CD
Length
6

Track
Regulation

7

Performance

8

Final
Score


7

Other reviews:

David Benoit
Composer 

David Benoit

The Stars Fell on Henrietta (Soundtrack) by David Benoit
Purchase this CD at

All artwork from The
Avengers is exclusive property of Varese Sarabande (c) 1998.  Its
suggestion is to go to imformational purposes on the other hand.

Copyright ©1998 - 2008. Tracksounds: 
The Film Music Familiarity.  
All rights reserved. This material
may not be published, broadcast,
rewritten or redistributed in any
fashion.  All compact disc artwork
is hallmark of the specified record
term and appears here for
informational purposes only. 
All sound clips are in Real Audio
format or mp3 and are the exclusive
property of their respective recount
labels.

News about

Monday, August 24th, 2009

Though it's based on the nevertheless novel (by Richard Condon) that spawned the classic 1962 malignant-and-white steam, the makers of this new "Manchurian Candidate" might have been better disappointing naming their film something else. Anything else.

Though the the two films do share plot points and characters, they are very different, and this updated adaptation or loose remake or whatever it is, does deserve to be taken on its own merits, rather than being the subject of endless comparisons.

If anything, the new version is in many ways a trickier, more complex psychological thriller. Admittedly, it's not always successful and sometimes seems to lose its focus, but it does have its share of effective moments.

And helping to make it effective is a first-rate cast, led by Denzel Washington, who stars as Maj. Bennett Marco, a U.S. Army veteran haunted by things he witnessed during the Gulf War.

Marco is questioning what was an apparent act of heroism by Raymond Shaw (Liev Schreiber), one of his junior officers, who's gone on to bigger things; he's now a vice presidential candidate. But the deeper Marco digs, the more he's convinced that he and Shaw ? and other soldiers ? were subjected to mind-control experimentation.

He would like to talk to Shaw to confirm his suspicions, but Shaw's controlling politician old lady, Eleanor (Meryl Streep), has no intention of letting anyone impending her son, especially not his increasingly paranoid former commanding officer.

Director Jonathan Demme's work on this film is good enough to allow us to forgive him ? well, almost ? for "The Truth About Charlie," his wretched 2002 remake of "Charade."

There's an almost overwhelming atmosphere of dread hanging over the film. And the effective score (by Rachel Portman and featuring contributions by hip-hop artist Wyclef Jean) only adds to the tension.

As mentioned, the cast is terrific. As Marco, Washington is as forceful as ever ? when he needs to be. And while Schreiber's performance might seem a bit bland, that's really the point of his character. But it should come as no surprise that the real scene-stealer here is Streep, who appears to be paying tribute to Angela Lansbury's performance in the original, as well as mimicking Hillary Rodham Clinton. As always, she's very watchable.

"The Manchurian Candidate" is rated R for strong scenes of violence (shootings, strangulation, a drowning, biting and some explosive mayhem), occasional use of strong sexual profanity, gore and some drug content (use of anesthetics and hypodermics). Running time: 130 minutes.

Radiant City review

Saturday, August 22nd, 2009

Surrealist filmmaker Gary Burns (Waydowntown, A Refractory with Fear) joins anchorwoman Jim Brown on an trip to the ‘burbs. Amidst the new foundations of fiend homes, the two analyse the dark side of suburbia and create a provocative reflection on why we live the way we do. Playing off sitcoms and genuineness TV, Burns and Brown construct the documentary genre inside out, crafting a vivid account of elan vital in The Belated Suburban Lifetime.

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Love! Valour! Compassion! (1997)

Friday, August 21st, 2009

These friends exclaim over big things: the meaning of life and death;
the people who have loved them as well as the ones who haven’t given them a
chance. “I don’t date dancers,” announces the always outrageous Buzz.
“It’s simple — dancers don’t want to date me, so f– ‘em!”

Besides Buzz (Jason Alexander of “Seinfeld” as you’ve never seen him
before, including his bare buns), the house party includes Gregory and
Bobby, whose devotion to each other is put in peril by the ostentatiously
sexy Ramon. Although there with his new lover, John, Ramon is clearly on the
make. Rounding out the group is the perfect yuppie couple, Arthur and Perry,
who have been together so long they’re role models for the gay community.
“It’s very stressful,” Perry says.

After discovering Bobby and Ramon making out in the kitchen in the
middle of the night, Arthur takes aside Bobby, who is blind, to warn him
that he should do something about the stain on his pajamas before hopping
back into Gregory’s bed. “In Catholic school, we called them `nocturnal
emissions,’ ” Arthur says. “That always made me think of Chopin —
`Chopin’s Nocturnal Emissions.’ ”

Does anyone really talk this way, let alone sustain the repartee while
dining, swimming and flirting? Not usually, perhaps. But this is Terrence
McNally territory, where literate lines fly like fireflies on a sum
mer night. After a while this trading of bons mots starts to sound natural.

McNally adapted his Tony Award-winning play for the screen, and for
once a movie improves on the stage version. It’s been trimmed from three
hours of nonstop dialogue to less than two hours of talk mixed with some
action — if disrobing and jumping into the lake for a moonlight swim counts
as action
.

Director Joe Mantello has been
smart about opening the story up. He doesn’t do anything gratuitous — no
flashbacks to Perry and Arthur at their white-collar jobs. Instead, like a
savvy real estate agent, the camera lovingly shows off the rooms of the
Victorian summer retreat. The house becomes another character, like
Manderley in “Rebecca.”

With Ellen coming out on prime
time TV, a movie about a bunch of gay men may no longer seem radical to
middle America. But “Love!” has mainstream appeal for other reasons. The
need these men have to love and be loved has nothing to do with sexual
orientation. If it weren’t for the nudity, you could almost forget that
there aren’t any women in the picture.

American Flyers (1985)

Friday, August 21st, 2009

Story of two brothers who untangle their mixed emotions as they compete in a grueling bicycle race, American Flyers is most entertaining when it rolls along unencumbered by big statements. Unfortunately, overblown production just pumps hot air in too innumerable directions and comes up limp.

Basic conflict between under-achiever David (David Grant) and older brother Marcus (Kevin Costner), a fierce competitor and no-nonsense sports doctor, is crammed into a hotbed of family problems including a career-woman mother (Janice Rule) who emotionally abandoned her dying husband.

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If this isn’t enough, one of the boys is destined for the same fate as the father. So, with the shadow of death hanging over them, the brothers set off for Colorado for ‘the toughest bicycle race in America.’

Combativeness between brothers yields to comaraderie, but true nature of their conflict is difficult to get a handle on.

Performances are adequate considering that over-production makes the characters seem larger than life without being lifelike.

News about

Tuesday, August 18th, 2009

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DVD
Reviewing | Man Called Horse, A


Written by:

Kage
Alan

I?d heard about this trilogy of films for a very
long time, only I never did watch any of them.  Now that Richard
Harris has unfortunately passed away, there is a great deal of
interest from the current generation about his previous works.  I do
believe this also the shortest introduction I?ve ever written for a
disc.

Oddly enough, ?A Man Called Horse? can be summed up
quite easily.  An uppity British lord named John Morgan (Harris, ?Harry
Potter & The Chamber of Secrets?) is taken prisoner by a tribe of Sioux
Indians and made the pet of the current chief?s mother (played by none
other than Dame Judith Anderson, ?Star Trek III: The Search For
Spock?).  His first thought is to escape, but the only way to do that as
well as evade the surrounding Indian tribes is to leave with a war
party.  Well, the only way to leave with a war party is to prove himself
to the people who captured him and marry the chief?s sister, Running
Deer (Corinna Tsopei).  That?s the simple version, but the experiences
John has are not to be taken lightly.

Aside from the abusive treatment he received when
he first arrived, John makes the uneasy transition from sophisticated
and worldly Brit to that of someone learning how to scalp the enemy in
order to gain prestige within the tribe as well as request the dreaded
Sun Vow before he can marry Running Deer.  Well, if you thought scalping
was painful and bloody, it?s nothing compared to the brutality and
savagery of the Sun Vow.  Suffice to say I was squirming in my seat and
this is only rated PG!  It?s not too much of a stretch to discover that
leaving may not be on John?s mind too much longer once he?s been
embraced.

If there?s one complaint I?ve heard echoed about
this film and probably rightly so, it came from a time when Native
American stories were still being told and shown from an outsider?s
point of view.  While the intentions for this film were to remain true
to how life was lived way back when, the observations are from the white
viewpoint and not the authentic Native American one.  Aside from that,
for a film made in 1970, it was rather truthful in its graphic nature,
which I appreciated, and Harris does a solid job playing a rather
underwritten role.

Paramount has released ?A Man Called Horse? in a
wonderful looking Widescreen transfer.  Picture quality is quite good
for a 33-year-old movie and while it suffers from a minor amount of
grain and softness, the colors extremely vibrant.  Hats off to Paramount
for doing some work on restoring this one.  Audio quality isn?t bad
either and the new Dolby Digital soundtrack sounds decent. 
Unfortunately, the extras are a little light here with not even a
trailer or cast and crew information.  Does that make it light or simply
nonexistent?

I admit that after finishing the first film, I?m
curious to now see the other two.  What happens to John after this that
warrants two sequels?  I hope to find out.  Those looking to rediscover
this gem will be pleased to find it in such good shape while I urge
first time viewers not to expect the same kind of character Harris
played in ?Harry Potter?.  This is a fairly brutal film with brutal
themes and isn?t for kids despite its rating.


Film Rating:


B

DVD Deliberate Features: N/A



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