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Showing posts with label Hollywood Movies. Show all posts
Showing posts with label Hollywood Movies. Show all posts
Thursday, July 10, 2008
Scar English Movie Online
Joan Burrows (Bettis) returns to her hometown to attend her niece Olympia's (Blanton) high school graduation, but finds herself confronted by her past in the town. Before the graduation is to occur, a young couple goes missing and within a few days a mutilated body is found in the water during a town fish festival. This initiates flashbacks in which Joan's dark past is learned. When Joan was 16, she and her best friend were kidnapped and tortured by a serial killer by the name of Bishop (Cotton). Bishop bound Joan and her friend to an autopsy table where one girl was tortured while the other had the power to make it stop simply by demanding the death of the friend. Joan was able to escape and kill her captor, but was left as the sole survivor of the spree with a scar on her cheek. With the present day's body count rising, questions arise whether Bishop had evaded death or if a new copy cat killer has arisen.
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Art Of War: The Betrayal English Movie Online
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Heavy Petting English Movie Online
When it was first released in 1989, the sex documentary Heavy Petting made good use of the counterculture's obsession at the time with naïve postwar cultural kitsch, mining the extensive back catalog of sex education films from the 1950s and '60s in order to take a none-too-subtle jab at American society's hysterical hypocrisy about sexuality. In 1982, The Atomic Café (made by some of the same people) had utilized much the same method to make a statement about government propaganda about atomic warfare during the 1950s, also having a deep well of ludicrous and self-satirizing films to draw from for comic effect. Like Café had been earlier in the decade, Heavy Petting quickly became a favorite on the arthouse and film society circuit, fulfilling much the same sort of function as Reefer Madness did in allowing hipsters an easy laugh at the squares. Finally available on DVD, what seems clear is that it was probably better the first time around.
Directors Obie Benz and Joshua Waletzky deserve credit for not trying to impose too much structure on their purposefully goofy project. So they freely mix the personal recollections of their many guests, who talk in wistful terms about their first time and how much their experiences differed from the hushed and censoring ways in which sex was talked about in society, with all those priceless sex-ed films, not to mention clips from old films and TV shows. The interviews themselves are a roster of '80s alternative cool, with artists associated with icy reserve like David Byrne and Laurie Anderson opening up with jokey and self-deprecating candor. The late, great monologist Spalding Gray shows up to spin some wit at his own expense, as do those other veterans of the downtown scene, Ann Magnuson and Sandra Bernhard. The more freewheeling experimentation of an earlier counterculture is celebrated by a wildly grinning Abbie Hoffman. The most priceless interview, however, is Allen Ginsberg and William S. Burroughs', done together, with an ebullient Ginsberg going on and on while the skeletal Burroughs listens to the side and giving the occasional dry comment: "Who wants to be loved?"
Where Heavy Petting goes off the rails is in not assembling its starry roster of interviewees into a more forceful piece of work. As it stands, this lively free association essay on sexual freedom has more heart than a half-dozen more standard-format documentaries, but it doesn't know what to do with it. Interviews are inserted seemingly at random and without really any identification -- which isn't really necessary with the likes of Byrne and Burroughs, of course, but it would have been helpful for some of the guests. While enjoyable as far as it goes, this is in the end too thin a piece of work to really make much impact, seeming at times in its wildly haphazard assemblage of random elements to be more of an ad for itself than a coherent piece of work.
But, then again, you do get to hear David Byrne talk about sex, which holds an undeniable and strange fascination.
The DVD comes in widescreen format with extended "sexual confessions" from many of the film's participants, as well as an interview with Obie Benz. The second disc comes with original source material: 10 sex-ed, anti-pornography, and VD scare films from the 1930s to '50s; including "As Boys Grow" and "Easy to Get."
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Dying God English Movie Online
Starring James Horan, Lance Henriksen, Erin Brown, Agathe de la Boulaye, Nicolas Silbert
Directed by Fabrice Lambot
One would think a movie about a horny monster raping hookers to death with its giant penis would be a lot sleazier than Dying God turned out to be. Yeah, we do get a close-up look at the creature's massive, retractable, three-foot wangdoodle. But even though the creature is straight out of Japanese hentai and the film itself is clearly aiming for a giallo vibe, it still isn't nearly as sleazy or trashy as you'd expect from a melding of such seedy subgenres. It's as if the filmmakers were unwilling to commit themselves to the down and dirty aspects of either side.
There's this South American creature called the "Kurupi" that's considered a god by a lost native tribe. The seemingly last Kurupi is now lurking about a decaying city that I think is supposed to be Buenos Aires yet most of the cast are English-speaking Americans. The beast is desperately trying to find suitable baby-maker fodder in order to sustain its species. Since scoring with the ladies is kind of hard when you look like a green-skinned version of the human/alien hybrid from Alien: Resurrection, it's taken to stalking and raping hookers. Even then it's hard to make a baby when blowing your wad involves blowing a hole out the woman’s' uterus.
Like I said at the outset, it isn’t nearly as sleazetacular as the premise sounds. In part because the majority of the raping and killing takes place off-screen (and even when it doesn't it isn't shown in a particularly graphic fashion) but primarily because the Kurupi is practically a subplot that takes a backseat for the majority of the film in favor of a dreary character study about the personal failings of the repugnant cop assigned to find out who is leaving behind a trail of dead hookers with gaping holes blown out their lower abdomens.
Dying God reviewSean Fallon (Horan) is a tough talking, chain smoking, often drunk, always surly, borderline burnout cop of the constantly smacking people around or threatening to smack someone variety. He's also a crooked cop involved in some shady dealings and more than willing to execute someone who double-crosses him.
A big problem here is that between the forced writing and actor James Horan trying too hard, Fallon borders on caricature. When he's shown threatening a guy in a bar for mouthing off to him and pulling a gun on a pizza delivery boy simply because the young man asked him too many questions about police work I'm unsure if this is supposed to show what a temperamental hard ass he is or an attempt at parody. Mostly he's just unpleasant.
One minute he's physically abusing his girlfriend in a drunken rage and the next we're supposed to feel bad for him if something were to happen to her. You can make a fascinating character study of a troubled, dirty cop and still make it interesting (see: Bad Lieutenant). You can even embolden this character with some noble qualities that make him likeable (see: "The Shield"). There's nothing interesting about the life of Sean Fallon and there's damn sure no reason to root or sympathize for him. The only pitiful explanation we get for why this guy is such a dirt bag is because his wife left him after he proved incapable of impregnating her - a strained attempt to tie his plight in with the monster's.
Fallon's girlfriend is a hooker named Mary played depressingly by Erin Brown, the former Misty Mundae. She takes offense at being called a hooker - "escort" is the word she prefers. Mary's introduction comes when Fallon interrupts her giving head to a client so that they can go have a quickie out in his car. Shortly thereafter, he'll rescue a pair of hookers from an abusive S&M customer and they reward him with a threesome.
Dying God reviewThere's also constant talk about what a serious time this is because of an upcoming city election. I only bring this up because the script kept bringing this up even though it ultimately has nothing to do with anything.
Lance Henriksen turns up around the halfway point as a wheelchair-bound crime boss Fallon works for on the side. There's a scene in the movie where another character talking to Henriksen's uses the line, "Don't son. That gun is loaded.” a line Henriksen himself coined as the villain in the Brian Bosworth biker flick Stone Cold. All this did was remind me of the Lance Henriksen who had meaty roles in films that may have been trashy but they were still worth watching. Would it really kill the man to start being a bit pickier about the roles he accepts?
Dying God's methodical pacing rapidly becomes downright lethargic and doesn't pick up again until its dying moments when the previously dreary tone very briefly shifts into some ridiculously machismo man vs. monster movie. The amount of gore and nudity might be enough to satisfy some. To me it doesn't work as either a character-driven film or a monster movie. It's different - I'll give it that much, but it's really just a cheap, dull, ugly-looking movie with ugly characters and a monster that remains uninspired despite the unsavory nature of this beast.
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The Mutant Chronicles English Movie Online
Starring: Thomas Jane, John Malkovich, Stephen Rea, Ron Perlman, Devon Aoki, Benno Fürmann, Sean Pertwee, Anna Walton
Director: Simon Hunter
Studio: Not Available
Rating: NR
Genre: Action / Sci-Fi / Thriller
Release Date: TBA 2008
SYNOPSIS:
It is a time when the earth perilously balances on the brink of devastation as war, famine, and plague grip the age of man. A time when a menacing threat is uncovered that could destroy our world forever.
The grit of World War One and modern day desperation combine to reveal a vision that is dark and moody, yet alluring. It is a militaristic nightmare…and a labyrinth of death.
The darkest age is yet to come. Have faith.
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Wednesday, July 9, 2008
Restraint English Movie Online
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Young People Fucking English Movie Online
Young People Fucking is the first feature film from two young filmmakers from Canada – director Martin Gero and writer Aaron Abrams. It's a delightful (undoubtedly) exploration into the comedy of sex through five different relationships: the couple, the exes, the roommates, the friends, and the first date. It goes through the progression prior, during, and after sex in each, with occurrences that wouldn't be funny in-person but certainly are on-screen. The result is a genuinely laugh-out-loud funny film that hits perfectly on so many notes, whether you've personally experienced one of the situations or not. Each one is as quirky and odd as the last, with two characters (or in one case a third) delivering spot-on performances.
The film presents a much more tasteful look at sex than its rather poignant title makes it seem. In comparison, Ang Lee's Lust, Caution has much more graphic sex scenes that warrant an NC-17 rating than Young People Fucking does – making this much more accessible and one you'll hopefully see in theaters along with your date or your closest friends. While it isn't as well-crafted as a Judd Apatow comedy, it delivers with at least the same amount of humor – certainly rare for a first time feature film.
Much of this film's success is due in part to Aaron Abrams's great script and the good-to-great performances of most of the young actors (one of which is also Abrams himself). It's a smart film that almost anyone who's adult enough to maturely laugh at sex will enjoy. It's fast, it's possibly embarrassing, and above all it's fully entertaining - a rare comedic gem I was delighted to have found.
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The Key English Movie Online
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A Gunfighter's Pledge English Movie Online
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Monday, July 7, 2008
Insanitarium English Movie Online
Rated: R
Runtime: 89 mins
Synopsis:
He's played a terrifyingly mono-syllabic kidnapper and murderer, an eccentric drug dealer, and Satan at least once each, so it was only a matter of time for the well-trained Peter Stormare (FARGO, BAD BOYS II, CONSTANTINE) to take on the role of Dr. Gianetti, the unhinged head physician of the Mid-Psych mental institution. When the punky Jack (Jesse Metcalfe) discovers the patients of Mid-Psych--including his sister--are being subjected to experimentation and turned into vicious killers, it's up to him and his nervous-yet-trusty friend and sidekick (Kevin Sussman) to take care of business. This innovative and energetic directorial debut from MIDNIGHT MEAT TRAIN scribe Jim Buhler combines gallows humor, a vivid cast of characters, lovingly crafted practical gore effects, and genuine terror to a sickening effect.
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Stargate - Continuum English Movie Online
Here’s a shocker: Jack O’Neill dies in the first few minutes of “Stargate: Continuum”. Now wait a minute, before you Stargate fans get all mad at me, let me say this: “Continuum” is a time travel story, so yes, Jack O’Neill dying, as well as Teal’C and Vala vanishing into thin air in a cloud of black smoke, is no cause for concern. If we’ve learned one thing about the Stargate universe, it’s that death is not absolute. Heck, it wasn’t absolute even when the episode of the week didn’t involve time travel, so why should it be even close when the entire episode hinges on the team time traveling back into the past to set things right? (And anyways, Jack shows back up as his bewildered, Homer-loving self at the 30-minute mark anyhow. Well, okay, maybe not quite his old self, but close enough.)
“Continuum” opens with a nice single long take by director Martin Wood that re-introduces us to the SG1 team of Mitchell (Ben Browder), Carter (Amanda Tapping), Jackson (Michael Shanks), Teal’c (Christopher Judge), and Vala (Claudia Black). It’s a good day for the SG1 bunch, as they’re about to embark on a mission to witness the execution of bothersome Gou’ald System Lord Ba’al (Cliff Simon), aka the last System Lord … EVER. Doing the honors are the Tok’ra, and General Jack O’Neill (Richard Dean Anderson) has shown up for just the occasion. Ba’al, of course, has other ideas, and soon members of SG1, along with everyone else, begin to disappear into thin air. What is going on – or to be more specific, when is it going on? It appears Ba’al, or one of his clones, has gone back in time and meddled with the time stream, and it’s up to SG1 to set things right. Next stop: 1939 and the frozen tundra of … the Antarctic?
“Continuum” is the second of two planned Stargate SG1 direct-to-DVD movies. It follows in the footsteps of “Ark of Truth”, released earlier this year, and from all accounts, is the last time Stargate fans will ever see SG1 as a team onscreen ever again. Sad, but true. With Stargate: Atlantis quickly establishing itself as the only Stargate show out there, it was probably time to put SG1 out to pasture, even though I have to admit, Ben Browder’s Mitchell was starting to grow on me as a replacement for O’Neill. Then again, I never could get used to seeing Browder sharing the same screen with his Farscape co-star Claudia Black, and their characters having almost no interest in each other. It just seems … wrong somehow.
As a stand-alone movie, “Continuum” makes good use of its overly familiar time travel plot (seriously, though, how many times have these guys traveled through time?) to raise some intriguing, though not necessarily action-packed philosophical questions. Once the team makes contact with the government of the new timeline, a sober and very difficult question rears its head: just because SG1 knows what is, and what must be, that doesn’t mean what currently is has no right to exist. As one character tells them in no uncertain terms, the world as it is may be wrong in the eyes of SG1, but it is as it should be to those who have lived it since Ba’al altered the timeline. Who, then, has the right to “alter” what is? It’s a good question, and one I must admit I never considered before “Continuum” brought it up.
Like “Ark of Truth”, “Continuum” was made for fans of the long-running series. The movie doesn’t spend a whole lot of time explaining its science, and indeed, I don’t think there was ever a moment where the film simply stopped to explain its universe. Fans will jump right in, because the film quickly establishes its premise, and from there it’s following what’s left of the SG1 crew as they make their escape back in time, hoping to right the timeline. For much of the film, there is almost no action. Nevertheless, writer Brad Wright manages to keep things riveting as we follow SG1 as they are saved, detained, and eventually disbanded. This presents an excellent opportunity for the actors to flex their acting muscles minus the techno jargon. It’s these small moments, insignificant to the rest of the world around them, but monumental to the characters, that makes “Continuum” a far superior SG1 movie. It deserves mentioning again that if you’re a fan of the show, you’re going to absolutely treasure these quiet, no-action moments.
Most of the special effects, and the movie’s budget, seem to have been saved for the Third Act, thus guaranteeing that “Continuum” ends with some excellent sci-fi eye candy. The final 30 minutes is nicely paced as SG1 literally races against time. Although the script is confined to the human characters for much of the beginning and middle, it effortlessly re-introduces Ba’al, Teal’c, and Vala in time for the final showdown. Notable appearances include the late Don S. Davis, reprising his longtime role of General George Hammond; SG1 fans will also recognize William Devane, once again playing the President, and an entertaining turn by Beau Bridges as a more cantankerous than usual version of General Landry.
The SG1 episodes have always been difficult for me to grade, as the show seems to have a rhythm all its own that many other shows just don’t share. If I had to compare the two SG1 movies, I would have to give “Continuum” the edge. Of course, my opinion may be a tad bias, as I was never really a big fan of the Ori storyline, something that “Ark of Truth” provided closure to. “Continuum” just feels like a better, more complete stand-alone SG1 movie, with excellent character work by the regulars, and nice work by the supporting cast. Cliff Simon in particular has a, well, ball as Ba’al, while Claudia Black’s Vala is initially oft-putting, mostly because this is a Vala we have never met before, and it seems like an entirely new character. Props to Black for playing, essentially, a whole new character based on the old one.
Overall, if you were a fan of SG1 and its ability to balance its human drama with out-of-this-world sci-fi action, then “Continuum” makes for a great final movie. It doesn’t do what most “final” movies do – that is, somehow “wrap” up the show – but rather, it ends exactly the same way that most, if not all, SG1 episodes usually end: It leaves you satisfied, and wanting more.
“Stargate: Continuum” arrives on DVD July 29.
Martin Wood (director) / Jonathan Glassner, Brad Wright (screenplay)
CAST: Ben Browder … Lt. Colonel Cameron Mitchell
Michael Shanks … Dr. Daniel Jackson
Amanda Tapping … Lt. Colonel Samantha Carter
Christopher Judge … Teal’c
Claudia Black … Vala Mal Doran
Beau Bridges … Major General Hank Landry
Cliff Simon … Ba’al
Richard Dean Anderson … Major General Jack O’Neill
William Devane … Henry Hayes
Don S. Davis … George S. Hammond
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Camp Rock English Movie Online
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Friday, July 4, 2008
Hancock English Movie Online
WHERE IS it written that superheroes have to be selfless? What would happen if an individual with supernatural powers was surly, self-absorbed and acid-tongued? Would he still be a hero? Would people still want him around?
Hancock, the new Will Smith vehicle, asks those smart questions, but after initial moments of success its answers get dumb and dumber. It’s a strange feeling to see the summer’s most promising premise self-destruct into something bizarre and unsatisfying, but that is the “Hancock” experience.
Probably no one but Smith, possibly the most likable actor in the world, could have breathed the right kind of life into this unusual character, first met sleeping off a monumental binge on a bench in Los Angeles.
Being hung over, we soon learn, is business as usual for Hancock, a superhero who hangs out in dive bars, drinks from the bottle and wears ragged clothes and a wool cap that has seen better days.
Yes, Hancock has all of Superman’s talents — he is ridiculously strong, invulnerable and able to to leap tall buildings in a single bound — but because he is often drunk and/or hung over when the call to action comes, he causes as much trouble as he prevents.
When Hancock stops a car full of gun-toting gangbangers, he destroys assorted vehicles and a freeway sign and defaces a local monument in the process. When he tosses a beached whale back into the ocean, he capsizes a boat. Hancock is clearly the guy the term “collateral damage” was invented for.
Worse than that, Hancock has a blistering tongue, something the film’s trailers have taken care to avoid revealing. That a film with dauntingly profane diatribes that would make a stevedore blush got a PG-13 rating, while the much sweeter “Election” was saddled with an R a few years back, will be catnip to those who think the MPAA ratings board (which reportedly twice gave “Hancock” an R before further cuts changed its mind) invariably gives away the store to major studio releases.
Things might have gone on like this forever for Hancock — who knows how long a superhero’s liver can hold out — if he hadn’t one day saved the life of a man named Ray Embrey (an agreeable Jason Bateman), whose car was trapped on railroad tracks with a train bearing down. Embrey turns out to be a good-natured public relations man who believes in making the world a better place and specializes in image consulting. Though his wife Mary (an initially underutilized Charlize Theron) takes a visceral dislike to Hancock, Embrey decides nothing will do but that he will help this reluctant superhero to clean up his act.
Some of this stuff, like training Hancock to ask politely before rescuing someone and to say “good job” even when people are not doing one, is amusing. But when Hancock agrees to go to jail for the damage he’s caused, the result is an anatomically challenging encounter with a pair of inmates that makes an even further mockery, if that’s possible, of the film’s puny rating.
As written by Vy Vincent Ngo and Vince Gilligan and directed by Peter Berg, “Hancock” up to this point takes misanthropic glee in its deconstruction of the conventions of superheroism. It’s abrasive as all get out, but Smith’s charisma and the cleverness of the concept keep us in the picture.
But then, just about without warning, “Hancock” makes a completely unexpected and head-shaking plot turn that derails the film in a way that it never recovers from. This second part of “Hancock” has the further disadvantage of coming up with its convoluted rules as it goes along, making it especially hard to understand what is happening to its characters or the reasons for its events.
Theron has more prominence as things progress, and, also out of nowhere, gives one of her strongest performances. But this part of the film also reveals a weakness for standard-issue violence and savagery that comes from a much more conventional place than the film’s initial concept.
The creators of “Hancock” truly had a tiger by the tail with their primary idea, and once they let go, the beast turned around and swallowed them whole. This is Hollywood, after all, a town without pity. Or, for that matter, anything resembling good common sense.
Cast & Crew:
Genre: Action, Drama, Fantasy
Starring: Charlize Theron, Will Smith, Jason Bateman, Eddie Marsan, Jae Head,
Director: Peter Berg
Producer: Akiva Goldsman, James Lassiter, Michael Mann, Will Smith
Writer: Vince Gilligan, Vincent Ngo
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Thursday, July 3, 2008
WALL-E English Movie Online
Rated: G
Theatrical Release: Jun 27, 2008 Wide
Synopsis:
What if mankind had to leave Earth, and somebody forgot to turn the last robot off?
Academy Award®-winning writer-director Andrew Stanton (“Finding Nemo”) and the inventive storytellers and technical geniuses at Pixar Animation Studios (“The Incredibles,” “Cars,” “Ratatouille”) transport moviegoers to a galaxy not so very far away for a new computer-animated cosmic comedy about a determined robot named WALL•E.
After hundreds of lonely years of doing what he was built for, WALL•E (short for Waste Allocation Load Lifter Earth-Class) discovers a new purpose in life (besides collecting knick-knacks) when he meets a sleek search robot named EVE. EVE comes to realize that WALL•E has inadvertently stumbled upon the key to the planet’s future, and races back to space to report her findings to the humans (who have been eagerly awaiting word that it is safe to return home). Meanwhile, WALL•E chases EVE across the galaxy and sets into motion one of the most exciting and imaginative comedy adventures ever brought to the big screen.
Joining WALL•E on his fantastic journey across a universe of never-before-imagined visions of the future, is a hilarious cast of characters including a pet cockroach, and a heroic team of malfunctioning misfit robots.
Filled with surprises, action, humor and heart, WALL•E was written and directed by Andrew Stanton, produced by Jim Morris, co-produced by Lindsey Collins and features original and innovative sound design by Academy Award®-winner Ben Burtt (“Star Wars,” “Indiana Jones,” “E.T. the Extra-Terrestrial”).
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Tuesday, July 1, 2008
Wargames: The Dead Code English Movie Online
Synopsis: Arriving twenty-five years after WARGAMES, the Matthew Broderick-starring backdoor thriller, this sequel finds yet another brilliant young computer hacker who may end up starting World War III via a government simulation war game. This time, Will Farmer inadvertently engages Ripley,... Arriving twenty-five years after WARGAMES, the Matthew Broderick-starring backdoor thriller, this sequel finds yet another brilliant young computer hacker who may end up starting World War III via a government simulation war game. This time, Will Farmer inadvertently engages Ripley, an overly sensitive supercomputer that was designed to detect and handle terrorist attacks.
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Batman: Gotham Knight English Movie Online
Traditionally, I have never been a big Batman fan. Over the years, I've stood firmly on the Marvel side of the fence, but that doesn't blind me to the fact that Batman is the single most cinematic of the mainstream superhero brigade. He's dark, tormented, dresses in black, has the cool car, and -- despite essentially being just a guy who works out a lot -- can even occasionally kick Superman-butt. He's made for the screen, really.
Which is why it's shocking just how all the on-screen versions of him disappoint so sorely. Television's Biff-Pow-Splat series is ridiculously fun campy entertainment, but Holy Utility Belt, it turned Batman into an absolute joke. The movies all faltered in their individual way. Tim Burton went gloriously loony with his two films, but Michael Keaton never filled that cowl adequately enough. Also, Burton's Batman killed people, a move that shocked purists to the core. (Though I remain convinced that the only reason Batman never killed a guy in the comics was more due to the strict Comics Code Authority than any deep-rooted moral code. But that's just me.)
Val Kilmer was an interesting Batman, but while he moved forward as Batman in Forever, the rest of the film -- Jim Carrey as The Riddler, for example -- regressed into TV show ridiculousness. George Clooney's [Images] Bat attempt was an ill-fated disaster, producing the one Uma Thurman [Images] movie that is impossible to sit through. And then there was Christopher Nolan's Begins, where, much as I like Christian Bale, his Batman seemed exaggerated and while the director pandered to the fanboys, it doesn't really impress as a film. I have been accused of being far too critical in my review for that one, but it's merely because I have far greater expectations, from the Prestige maker -- and, from Batman.
Now, days before Nolan raises the curtains on the undeniably, lipsmackingly promising The Dark Knight, we have finally hit paydirt.
Batman: Gotham Knight is the single greatest screen version of any Batman ever, and it's simply marvellous.
Sculpted in anime and timed to release a couple of weeks before the big movie itself -- remember when Warner Brothers did the same with that fantastic The Animatrix to go with those godawful Matrix sequels? -- this is a stunning blend of East-meets-America, a rocking mix of surreality and style, of traditional Bob Kane silhouettes and a totally fresh pair of eyes. Six directors; six Batman short films; six ways to talk about the Batman; six radically different styles. The characters speak in American accents, but this isn't a US cartoon at all. Nor is it another anime. Ladies and gents, this is Batmanime.
And it will blow you away.
It starts with perception. It's all very well to believe in the Bat-Signal, to say that the people of Gotham City implicitly trust in the man in black -- unlike those fickle Spidey-hating New Yorkers -- but he is a man dressed like a bat, goshdarnit, operating almost exclusively in the shadows. There will be doubt, to say the least. And so Gotham Knight kicks off by exploring how we look at Batman, what we think of him, and how basic descriptions we don't think twice about in superheroland -- 'disappeared into the shadows and reemerged from the darkness' -- can take on greatly kinetic vividity in the visual form. Wow.
So kids, skeptical cops, and even Commish Gordon, spend the first three shorts thinking about Batman. And the joke is on them, because -- as readers, audiences, fans -- we know Batman, and that he can't fly or teleport. But it's fascinating to see their bewilderment, their cynicism, their faith. Fresh pairs of eyes, all the way.
And then, as we enter the third segment, Field Test, we meet a bushy-tailed Bruce Wayne trying out a gadget that could make his batsuit nearly-invulnerable to bullets -- except it isn't the safest thing for bystanders. We get our first glimpse of the workings of Bruce's brain, and even share a precious smirk with him as he ruins a drive. And Kevin Conroy, who's been great as Batman's voice in the wonderfully edgy Batman Animated Series, is flawless here too -- cold apathy with just a touch of nuance. Nice.
The only supervillain to really show up in these shorts is Deadshot -- while The Scarecrow has a fleeting appearance. Which is a tremendously interesting fact considering that we always invariably focus so much more on Batman's super rogues gallery instead of the Bat himself. And these films, while completely off-the-wall different in terms of style, form and storytelling, are all about Bats. And we needed this.
And Batman needed the vulnerability. In a chapter called Working Through Pain, we see a wounded Wayne struggle through a dark shaft while flashbacking to early pain-management lessons learned on the banks of the Ganges [Images]. While Parminder Nagra [Images] voices the visibly Indian woman who trains him, she is perplexingly named Cassandra. She is an interesting character, though, and tutors him after the fakirs turn him down. 'They say you are not looking for enlightenment or truth,' says Wayne's guide, nudging us toward Bruce's ever-seething need for revenge.
And with perfect timing, after all the character development and introspection, we have the last chapter, Deadshot -- a no-holds-barred Batman actioner. Picking up on a haul of guns, Wayne admits he'd never use one, before lyrically going on to appreciate the heft and the possibilities. Deadshot, the modern, DC comics equivalent of The Man With The Golden Gun, is visually great to play with, and the animators go wild following bullet -- and batarang -- trajectories.
Holy Batcave, that cape hasn't looked this striking in ages. Batman: Gotham Knight is as staggeringly beautiful a work of art as it is a well-rounded view of the iconic detective hero. Directors Shojiro Nishimi, Futoshi Higashide, Hiroshi Morioka, Yasuhiro Aoki, Toshiyuki Kubooka and Jang-Sik Nam deserve a major round of applause -- while credit must be split with hardcore comic writers Brian Azzarello, Josh Olson, David Goer, Greg Rucka, Jordan Camera Goldberg and Alan Burnett. It's a fantastic set of team-ups, marriages made in... well, Wayne Manor.
Sure, Batman's always been the 'cool' one, but hot damn it's been a while since his entry-shots gave us goosepimples. And this one did it for me, thrice. And coming from a Bat-indifferent Spider-Fan, that's as high as praise gets.
You a Batfan who liked Clooney's version better? Want to go on complaining about the Batman Begins review? Or just have a favourite Batman joke? Write in to me about all things superhero or cinematic at senterfold@rediffmail.com. Seeya next week, folks.
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Impact Point English Movie Online
Pro Beach Volleyball star, Kelly Reyes, faces challenges everyday, fierce competitors, the press, but nothing could prepare her for him.
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Sleepwalking English Movie Online
Rated: R
Runtime: 1 hr 41 mins
Theatrical Release: Mar 14, 2008 Limited
Synopsis:
Nick Stahl (Sin City, Terminator 3: Rise of the Machines), AnnaSophia Robb (Bridge to Terabithia, Charlie and the Chocolate Factory) and Academy Award® winner Charlize Theron (Monster, North Country) star in Sleepwalking, a moving drama about the deep familial bond that develops... Nick Stahl (Sin City, Terminator 3: Rise of the Machines), AnnaSophia Robb (Bridge to Terabithia, Charlie and the Chocolate Factory) and Academy Award® winner Charlize Theron (Monster, North Country) star in Sleepwalking, a moving drama about the deep familial bond that develops between a 30-year-old man and his young niece after the girl's mother suddenly leaves town. Directed by William Maher from a screenplay by Zac Stanford (The Chumscrubber), Sleepwalking also stars Academy Award® nominees Dennis Hopper (Hoosiers, Blue Velvet) and Woody Harrelson (The People Vs. Larry Flynt, Natural Born Killers).
Forced out of her home after her boyfriend is arrested, Joleen Reedy (Charlize Theron) needs a place to stay with her 11-year-old daughter, Tara (AnnaSophia Robb). She turns for help to her younger brother, James (Nick Stahl)— a simple and overly trusting man who doesn’t hesitate to welcome them into his modest rental apartment.
Almost as soon as she moves in, however, Joleen hits the road with another man. Utterly ill-equipped to be the sole guardian of an adolescent girl, James does his best to make his distraught niece happy. But before long, things spin out of control: he loses his road crew job and Tara is put into foster care. Additionally, old wounds from his emotionally abusive and sometimes violent father (Dennis Hopper) begin to reopen as James is forced to re-examine his life.
That’s when James makes a fateful decision that will bring his life full circle and force him to face his demons. He takes off with Tara and the pair assumes new identities as father and daughter. What starts out as a ploy to evade authorities takes on a deeper significance as James strives to become the dad Tara never had, and for the first time finds a true purpose in life. --© Overture Films
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Love Guru English Movie Online
Rated: PG-13
Theatrical Release: Jun 20, 2008 Wide
Synopsis:
Love, hockey, and Indian spirituality come together in this film that marks Mike Myers's return to live-action comedy. THE LOVE GURU costars Jessica Alba, Justin Timberlake, and Ben Kingsley. Love, hockey, and Indian spirituality come together in this film that marks Mike Myers's return to live-action comedy. THE LOVE GURU costars Jessica Alba, Justin Timberlake, and Ben Kingsley.
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Monday, June 30, 2008
Adulthood English Movie Online
Noel Clarke is probably best known to the tv-watching public as Mickey Smith in the first two seasons of Doctor Who (and the closing episodes of the forthcoming season if the rumours are true) but his work away from that show has been just as striking, if utterly different.
In 2006 he wrote and appeared in the controversial film kidulthood, depicting the dramas among the street kids of an urban housing estate. It was gritty, uncompromising and while certainly not to everyone’s tastes, provided a bold statement about film-making and youth culture. This wasn’t shiny, snarky, mockney rebels having a ‘larf’ , it was a call-out to a generation often personified (rightly or wrongly) and marginalised as simply armed, hooded and dangerous.
The film may not have been able to compete against the avalanche of American imports and blockbusters, but it proved it had staying power - taking a considerable amount of money from a release that amounted to less than fifty screens across the country. Clarke, who starred in the film as well as writing it, rightly got kudos for the project and he clearly sees it as just as relative to his career as any dimensions in time and space. “If I went to a financier and said ‘I’m the guy from Doctor Who, make me the lead in your film…’, they’d laugh me out the door!” he tells me wryly. “ You won’t find any tabloid stuff, I don’t fall out of clubs, don’t have rock-star mates who get off jail countless times. I just try do my work.” It’s a solid worth ethic and one which helped lead to a sequel, adulthood - out this week - which catches up with Clarke’s character, Sam, who has just been released from prison after the fatal consequences of his actions at the end of the previous outing. Though still street-wise and savvy, Sam wants nothing to do revenge and retribution - in fact he actively puts the word out that he wants no trouble. For him, if he gets his wish, the cycle of tit-for-tat violence and defence of one’s ‘territory’ is over. As is often the case in life, though, one often doesn’t always get their wish and it soon becomes clear that old rivalries die hard. First Sam is threatened and then his mother. As the intimidation grows various key members of his childhood gang are pulled one way then the other by the various agendas on show. Is drug addict Lexi (ex-Eastenders Scarlett Alice Johnson ) a help or a hinderance? Is Sam’s brother being manipulated to take his own brother’s life? And how violent must Sam be to rid himself of violence in the long-term?
“ Hopefully its one of the better performances I’ve done,” he explains. “ I’d like to think the writing is relevant. It tries to deliver a moral message that you can walk away and break the cycle of violence. I feel kidaulthood portrayed what was actually happening. People arguably ignored what they were being told and nobody wanted to listen. We’re trying, with this latest film in particular, to show people that there are alternatives… I tried to give it my own style and I did that to the best of my ability and I can grow and improve with everything I do.”
It’s dangerous to take on too many roles, but with Clarke stepping into the director’s shoes - taking over from kidulthood’s Menhaj Huda - there’s an undeniable sense that he’s managed to juggle the writing/acting/directing duties with aplomb. This second slice of street-life should definitely satisfy those who appreciated Clarke’s first chapter and while there’s always a risk that its attitude and (sometimes) heavy urban-dialects/slang may not attract the wider audience already queuing for the more generic summer smash-hits, it is the sort of film which is liable to get very solid reviews for its style and message. It should be applauded for its impeach, gritty but ultimately hopeful tone.
Clarke is definitely a talent to watch and though Doctor Who may have got him a big audience (and some sly but not distracting cameos from colleagues in this film) adulthood is the most impressive entry to date on what is sure to be a growing resume.
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