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DOWNLOAD MOVIE Alien: Resurrection Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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The Movie:







“I thought you were dead.”

“Yeah, I get that a lot.”





Although I can certainly agree that it was not the finest way to end (or continue, maybe) the series, “Alien: Resurrection” no longer seems like such a misfire. In the years since I first saw the film, I’ve warmed up to it, appreciating some aspects of the picture more and finding some merits that I had overlooked.



One of the film’s greatest choices was pulling in director Jean-Pierre Jeunet, who had previously directed the eerie and fascinating “City of Lost Children”. Although he had certainly never directed an action film of this scale, the director was able to bring that same vivid, surreal, European visual style to this production.



The film opens on a massive freighter drifting through space, 200 years after the prior film. Ripley (Sigorney Weaver) has been cloned from a drop of her own blood and lays, motionless, as doctors remove one of the familiar aliens from her womb. The doctors are part of a government research project that has been breeding the aliens to use them for research - vaccines, medicines, weapons - those kinds of things. This gives Ripley a grim chuckle: “She’s a queen. She’ll breed. You’ll die.”



A smaller ship arrives, bearing new cargo for the “project” and a new crew, including Call (Winona Ryder). The new ship’s crew simply want a few days in less cramped quarters: they get a nasty surprise when the aliens figure out a rather clever way to escape from their quarters. The film then turns into a chase picture, as Ripley, Call and the rapidly decreasing amount of crew members try to find a way out.



The film’s performances are both good and bad. Weaver’s Ripley, no longer what she once was, has completely changed up the character, underplaying and bringing a new and highly enjoyable sense of menace to Ripley. Given that her character is supposed to be in some part alien, her alliance now becomes somewhat questionable. Ron Pearlman is also good as one of the crew members, but Dan Hedaya plays a rather cliche no-nonsense captain. The film’s worst performance comes from Winona Ryder, who seems completely out-of-place in this production. She’s not convincingly tough, and her performance seems shrill when she’s trying to stand up to the other characters. It’s simply a case of serious mis-casting.



The other star of the picture is the film’s visual style, which adds atmosphere and, more importantly, some tension where there wasn’t much to begin with - production designer Nigel Phelps and cinematographer Darius Khondji both do superb jobs. The film’s action scenes - including a very good underwater chase - are also generally superb and entertaining.



Ah, but the story. There’s not much depth or exploration of the “new” Ripley and once the chases begin, the (questionable) plot thread of doctors trying to study the aliens pretty much ends. The dialogue isn’t great, either: there’s a lot more one-liners than character development.



Overall, “Resurrection” is not a flawless film by any means, but it does boast some good performances, a strong visual style and a few mildly good scares. It hits the right notes several times, but its too bad that it couldn’t have pulled things together more often.



The DVD offers both the film’s “theatrical cut” and a new “extended cut” of the picture. The new edition comes with an introduction from director Jean-Pierre Jeunet, explaining that the film that was in theaters was his “director’s cut”, but this new cut was produced to offer something new for fans. The differences aren’t particularly major; there’s a couple of extensions as well as an alternate ending and slightly new (and rather goofy - it offers a bad CGI bug splattering on a ship’s windshield) opening. The alternate ending is interesting and worth watching, but I could do without the other additions. One can turn on a “deleted scenes” marker, which will show a small “special edition” logo during the new footage in the new cut of the film. The new cut is presented via seamless branching.




The DVD



VIDEO: “Alien: Resurrection” is presented by Fox in THX-Certfied 2.35:1 anamorphic widescreen. This was easily the finest presentation of the film that I’ve seen, presenting Darius Khondji’s stunning, sleek cinematography with the utmost clarity. Sharpness and detail seemed magnificent throughout, as the image boasted not only fine detail and definition, but a nice three-dimensional feel to the image.



Unfortunately, there were a couple of minor issues. I did notice a brief, very slight instance or two of edge enhancement in a couple of scenes. No compression artifacts were spotted, no print flaws were seen and really, things remained clean aside from the brief edge enhancement. Some light grain appeared at times, but it’s an intentional element of the photography and did not present a distraction.



Colors - the film’s dark browns, greens and other hues looked surprisingly clean and accurately rendered, with no smearing or other concerns. Black levels looked solid, while flesh tones appeared clean and natural. This excellent transfer was a pleasure to watch; it was an improvement upon the prior release, with noticably stronger sharpness and detail.



SOUND: “Alien: Resurrection” is presented by Fox in both Dolby Digital and DTS 5.1. The film’s soundtrack could have gone a little further in using the surrounds to try and add to the film’s tension, but the sound mix is perfectly fine. Surrounds do kick in quite nicely during the action sequences, but I would have liked some additional ambience to add to the creepiness that the film’s visuals maintain. The film is the most modern of the series and audio quality is certainly the most advanced; the audio may not be as consistently aggressive as it should be, but it does certainly boast strong dynamic range and excellent clarity. Dialogue, sound effects and other elements sound first-rate. Both the Dolby Digital and DTS soundtracks offer a similar experience - the DTS seemed to offer slightly improved clarity, but the differences were minimal. A Spanish 2.0 track is also included.



EXTRAS: (there are “Play All” options included under the “navigation options” menu on disc 2)



Commentary: This is a commentary from Director Jean-Pierre Jeunet, editor Herve Schneid, Alien FX creators Alec Gillis and Tom Woodruff, Jr., Visual FX supervisor Pitof, conceptual artist Sylvain Despretz and actors Ron Pearlman, Dominique Pinion and Leland Orser. This is generally an enjoyable commentary, as we learn quite a bit about the effects that the film used, some production tricks, casting and how the director added some of his own touches and style to the picture.



From The Ashes: Making of “Alien: Resurrection“: This piece does a fine job trying to explain the thought process behind trying to bring back the “Alien” series. Most of the people interviewed express their original dismay at bringing back the series that seemed so finalized with the prior picture. Writer Joss Whedon explains his thoughts on the challenges of not only bringing back the Ripley character, but trying to jumpstart a series that most people thought was over. Weaver’s comments here are also interesting, as she discusses her original thoughts on being presented with the idea (and her dislike of the “Alien vs. Predator” idea) and trying to create a completely different take on the character.



French Twist: This piece offers a look at some of the talent that director Jeunet brought to the table to try and create interesting and very different visuals to the picture. It’s also interesting early on that “28 Days Later” and “Trainspotting” director Danny Boyle is mentioned as being one of the first directors considered. It’s also rather odd that Jeunet keeps saying that he originally had no idea why Fox wanted to hire him or even meet with him. But, overall, this is an interesting piece that talks about how Jeunet brought his own visual style, but also got along well with the studio, as he was willing (cue foreboding music) to listen to their suggestions.



Casting and Characterization: A short featurette about casting.



Also in “Pre-Production”: Test footage, Marc Caro character design stills, conceptual art gallery, storyboards and multi-angle/multi-audio pre-visualizations for a few scenes.



Death From Below: This is a nearly 30-minute piece that focuses on the film’s underwater chase sequence, filmed right before Christmas, 1996. A difficult sequence that required the actors to be underwater for an extended period of time, the sequence certainly had a great deal of challenges to face (See also: “Under Pressure”, the incredibly involving “making of” documentary on the second disc of the 2-DVD version of James Cameron’s underwater “Abyss”). For “Resurrection”, the production had to dig out a massive, entire stage to create a giant swimming pool that was filled with not only lights and equipment, but props and set pieces. Throughout this documentary, we learn about the obstacles involved in trying to constuct this set, operating cameras underwater and training the actors.



Also in “Production”: A short piece on the “basketball” sequence, additional photo archives, a terrific creature design featurette and production stills.



Genetic Composition: This piece focuses on the work of composer John Frizzell.



Virtual Aliens: This documentary looks at the visual FX work in the film - not only does it look at the actual FX work, but gives an interesting view of the pre-production on the effects - trying to break down the script, listing and organizing before FX work even starts. The film did not have a particularly large budget as big-budget sci-fi goes, so the filmmakers had to get creative about building CG aliens and using both visual and practical effects in other areas of the picture.



Critical Juncture: Although the documentary title would indicate that this is more of a response to the severe reaction the film got from both critics and some fans, its more of a “look back” for those involved. While there is some “happy talk” in the interviews, there’s also some good analysis of what the film did and didn’t do.



Also in “Post Production”: A look at the film’s miniature photography work and visual effects and promotional photo galleries.



Final Thoughts: “Alien: Resurrection” suffers from little in the way of plot and a mis-casting issue or two, but I’ve grown to enjoy it more in the years since its release. Also, I certainly appreciate the touches that Jeunet and crew brought to the look and feel of the film. The new DVD edition, as part of the amazing “Quadrilogy” box set, offers both impressive audio and video quality, as well as a great deal of supplements. This edition of “Resurrection” will be available only in this box set until early 2004. The box set - a truly amazing 9-disc affair - is certainly a must-see.



Note: The “DVD Talk Collector’s Series” rating applies to the entire box set.

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DOWNLOAD MOVIE Inside Man Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Inside Man Reviewed By Todd LaPlace Posted 04/09/06 17:03:50

"Not the right thing." (Average)

?Heist,? ?The Score? and ?Ocean?s Eleven? have three things in common. One, they are all about big thefts. Two, they all have stellar casts (even Marlon Brando showed up in one). Three, they?re good, not great, movies. ?Inside Man? is about a theft. And it?s got a great cast (when one of the talented supporting players was also in ?Book of Shadows: Blair Witch 2,? you know you?ve cast well). It?s just too bad that it also isn?t better than just good.?Inside Man? is a mess of a movie. It should be noted, however, that director Spike Lee has already shown he can effectively work a mess of a movie into a stirring piece of cinema with ?Do the Right Thing.? There are no specific rights or wrongs in that racially-charged drama, and every piece of mise-en-sc?ne is designed to add to the post-screening debates and discussions. That was a fun mess to sift through. ?Inside Man? isn?t a fun mess; it?s just a chaotic mess. We?re not asked to challenge our beliefs in the unraveling. Rather, we?re simply asked to figure out what the hell happened over the past two hours.That?s, though, not necessarily a bad thing. Taking the reigns from ?Heist,? ?The Score,? ?The Good Thief,? The Thomas Crown Affair,? ?The Italian Job,? ?Ocean?s Eleven? and ?Ocean?s Twelve? (among many, many others), ?Inside Man? is actually a pretty nifty little caper flick. It?s got most of the requisite elements, but none of the same narratives. Luckily for us, just about the only thing missing is a retiring thief, looking for just one last score, which already makes ?Inside Man? infinitely better than the rest of the list (seriously, six of the seven have this as a plot element). Perhaps Lee?s best twist of the old clich?s is providing an immediate awareness of the ?twist.? A lot of heist movies provide a cool theft, but then provide some elaborate scheme that throws everything out of whack, and although we always know it?s coming, these films always expect us to be surprised. With his title alone, Lee lets us know something isn?t quite right.So the real question of ?Inside Man? is who?s working multiple angles? There?s a mild attempt to infuse the movie with a racial subplot surrounding the stolen items, but it?s nothing but a red herring. Like the uranium in his own classic ?Notorious,? Hitchcock would call the items the MacGuffin ? elements that further the story because of their importance to the characters, but that lack significant meaning to the audience. We don?t care about the props; we?re more interested in the people. I must admit that Lee?s movie might have worked better as a mystery ? we can solve the crime before the finale if we pay attention to the little slips of the tongue and watch for subtle changes in the scenery ? largely because we?re shown the elements, but we?re never invited to engage with the story. We?re just voyeurs to the crime, watching the three sides scrambling to beat the others to the punch.The one with the most to lose is Det. Keith Frazier (Denzel Washington), a police negotiator already under investigation by internal affairs for missing drug money. Frazier is one of those clich? throw-out-the-rules cops who work entirely on instinct, which allows him to see through the entire conspiracy with surprising accuracy. Along with his partner Bill Mitchell (an underrated Chiwetel Ejiofor), Frazier is one of those strictly-cinematic unflappable detectives that can simultaneously profile the criminals and strategize their defeat, all in the same thought. They, obviously, underestimate the criminals, three anonymous robbers called Steve, Stevie and Steve-O and their leader, Dalton (Clive Owen). Dalton, like Frazier, is a hackneyed movie thief, one that has an intimate knowledge of engineering, weapons, police procedure, negotiating, breaking and entering, lock picking, hostage taking, etc. He?s the one obviously calling the shots, and he?s just waiting for the cops to catch up with his plan. Did rookie screenwriter Russell Gewirtz actually believe we?d swallow this as original? Both Washington and Owen are skilled enough to make it look interesting, but we?ve seen their characters a million times before. Frazier spends a few hours unraveling the complicated plot, all while Dalton puts his plan into action, always a few steps ahead of even the smartest cops.Just about the only thing that makes ?Inside Man? better than the average crime caper is the appearance of a third entity. Madeline White (the excellent Jodie Foster) is one of those high-powered executives with a mysterious job title that lets her get impromptu meetings with the mayor of New York. She?s also one of those people that can walk into a tense hostage situation and get a quick private meeting with Dalton. She was hired by the bank manager (Christopher Plummer) to protect his personal safety deposit box at any cost. We?re not sure what?s in the box, but we do know that the manager wants to keep it safe, Frazier doesn?t know it exists and Dalton would definitely be interested in its contents. In case you can?t tell by the excessive amount of story and characterization necessary to understand the plot, the movie is a structural nightmare. Lee leaps from scene to scene ? from Frazier arguing with his captain (Willem Dafoe) to the criminals digging in the store room to White organizing an apartment for Osama bin Laden?s nephew to the detectives interviewing a hodgepodge of surviving hostages ? without any regard for narrative organization. Lee?s problem is that he?s never quite sure what shots work in this type of mainstream film. The green, grainy look of the interviews being the scenes into stark reality, but the shot that features Frazier riding along a dolly to the bank door is oddly out of place, especially in a crime film. Perhaps the most frustrating aspect of ?Inside Man? is expecting more depth from a Spike Lee Joint. The vast majority of his films, from ?Do the Right Thing? to ?Bamboozled,? are intimate looks at race and the underrated ?25th Hour? dealt with drugs and crime in the U.S. ?Inside Man,? though, largely plays like just another caper film. There are moments he flirts with his social past ? the mention of bin Laden, incorrectly labeling a Sikh hostage as Arab and dealing with the difference between the treatment of Arabs and blacks in this country ? but Lee never follows through. Even the name White, which is never incidental in a Spike Lee movie, never gets more than a passing mention. She is that overly ornate force that is charged to step down from her ivory tower (her New York office) and mediate a dispute that doesn?t involve her, although she?s using her power purely for personal gain. Huh, maybe Lee is making a political movie after all.There are so many great elements in ?Inside Man? that it?s that much more disappointing that the whole doesn?t work. The cast is amazing. The director is talented. The story is interesting. If only the film made more sense.
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DOWNLOAD MOVIE Bobby Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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After a fairly terrible year in 2005, it should come as no surprise
that it took another teaming with Writer/Director Adam McKay to score
Will Ferrell another hit. Sure, Wedding Crashers did so much better
than anyone would have ever expected, but all he had was a cameo very
late in the film. His most successful film before that was Anchorman:
The Legend of Ron Bergundy. The comedy and chemistry was excellent in
that film, and even with the really lame material, made the film work
in so many ways. Now we have Talladega Nights: The Ballad of Ricky
Bobby. While not necessarily being a better film than Anchorman, it
still ranks as a very positive improvement from the rest of the films
Ferrell has been doing as of late.

Ever since he was a child, Ricky Bobby (Ferrell), wanted to go fast.
After one of the fastest "growing-up" sequences I have ever witnessed
in a film, we zip right into the action as Ricky is part of the pit
crew for a NASCAR driver. After the lazy driver leaves halfway through
a race, Ricky takes his place and manages to do so well, that he
replaces him. Soon after, he is winning tournaments left and right, and
even gets his best friend Cal (John C. Reilly) in as his partner on the
track, helping him to win the races (and in turn, win second place
after Ricky during the races). Ricky is leading the high-life, but
after a few issues on the track, the team he works for decides to hire
a gay Formula 1 racer from France, Jean Girard (Sacha Baron Cohen), to
help shake things up.

The film is much in the same formula as Anchorman, only set more in the
satirical world of NASCAR. There are the obvious stereotypes thrown
around about the stupid, hick Americans who are into the sport, and of
course, all of the sponsorships and such that go into it. These
stereotypes are obvious from the get-go, and after awhile, are not too
jarringly distracting. They work well coupled in with the rest of the
story, and unlike Anchorman, the film actually feels like it has heart
and has some fairly dramatic moments (as best as can be used in an
obnoxious comedy). Of course, that's not to say that there are not a
whole whack of outrageously offensive jokes and crude humour (the
majority of which are absolutely hilarious). It is instead, a great mix
of all sorts of elements that work on-screen for the actors and for the
film itself.

A lot of the scenes are funny in themselves, but I find most of the
humour to come from the minor quips the characters throw at each other.
It is obviously not totally improvised, but the outtakes during the
credits show just a few of the extra lines that are spouted by the
characters. It worked in Anchorman, and it works just as good here.
Unfortunately, there are a few too many jokes that just fall flat (a
lot of Cohen's stuff just did not do it for me), and not nearly enough
laugh-out-loud moments. There are plenty of moments of hilarity anyway,
but there is room for improvement here and there.

Of noteworthy achievement are the ways the scenes involving the race
cars were filmed. They look absolutely awestriking during the races,
and look even better during the brutal car crashes. If there was
anything that could take away from the comedy in the film, it would be
the amazing shots McKay and Company create in the NASCAR races.

There is a little too much seriousness in some scenes however. It was
great to see the film becoming more than just a stupid comedy, but
there was a bit too much of it in some scenes. It drags the film out a
bit, and makes it longer than it probably should have been. In some
instances, it felt intensely long, but in others, it felt brisk and
fast-paced. It all depended scene-to-scene, so it definitely could have
been so much worse. Another thing I disliked, much like Anchorman
again, was the fact that many of the scenes in the trailer were not
even in the movie. Many of the money-shot, hilarious scenes, were in
both, but some of the little ones did not make the jump to the final
product. Is it negative to almost assume there are going to be tons of
deleted scenes on the DVD (and potentially enough to make a whole other
film out of them?). We'll just have to see.

The acting out of everyone is solid, and almost everyone feels perfect
in their roles. Ferrell is always great as screwball characters like
Ricky Bobby, and he proves himself once again in the role. He has just
enough edge and charisma to pull the character off without making him
too much of a joke. Reilly nearly steals the show away from him as Cal,
the even more dim-witted and bizarrely spoken best friends. Almost
everything he says hits dead-on, and the chemistry between the two is
just great. Cohen is alright in his role, although he feels a little
too over-the-top for his own good. Supporting turns from Michael Clarke
Duncan, Jane Lynch, Amy Adams, Greg Germann, Ted Manson and Leslie Bibb
are all great in their roles, but Gary Cole stands out as Ricky's
dead-beat and drunk/stoned father. His performance is electric, and
undoubtedly causes the most laughs of anyone in the cast.

While not as good as Anchorman was, this film still is a hell of a
funny movie with some great performances. It may be a little silly, and
some jokes may fall a bit flat, but if you are a fan of Will Ferrell,
then he is back. And in top form to boot.

8/10.

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DOWNLOAD MOVIE Half Light Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Half Light Reviewed By Scott Weinberg Posted 02/13/06 20:46:05

"Yawn: The Movie" (Pretty Bad)

Cinematic Sominex that feels like it was tailor-made for immediate simultaneous broadcast on the Lifetime Channel and the Oxygen Network, Half Light is a thriller with no thrills, a drama with no drive, and a romance with no heart. Ridiculously overused plot devices, blatantly bland concepts, and effortlessly predictable occurences … those it’s got in spades.Demi Moore, apparently free of all that "career resurgence" that her performance in Charlie’s Angels 2 provided, stars here as world-famous novelist Rachel Carlson, a woman shattered by the accidental drowning of her young son and looking for a big healthy dose of solitude in her big creepy cottage inside a deserted Scottish village. Which is on an island.Why authors struck by family tragedies seem predisposed towards holing themselves up in isolation is anybody’s guess, but I think it comes from the fact that screenwriters are lazy.So if you’ve already assumed that A) Rachel starts seeing visions of her dead son, B) that she begins writing with next to no trouble at all, and C) she finds a young Oyrish lighthouse keeper to warm her bed at night, then you’ve probably already seen all the movies that writer/director Craig Rosenberg has.To be fair, the movie is packed with beautiful and majestic vistas of the small Scottish village (even though Half Light was shot in Wales). Unfortunately, Mr. Rosenberg is so smitten with his exteriors that he lingers endlessly on the sweeping exposition shots, all of which are set to the strains of the weepiest violin strains and tinkly piano-doodlings this side of Musical Purgatory.On and on plods Half Light, doling out perhaps one identifiable plot point every 9.5 minutes. There are numerous flashbacks and ponderous dream sequences that punctuate the airy narrative, but they add very little emotional resonance while making a chore of a movie feel a whole lot longer. The still-lovely Ms. Moore does a fine job with a single-note character, although asking a veteran actor to pull off a role like this is like asking an old-school baker to make you one single cookie.Bottom line? Half Light is a movie that trots out the old "You can’t have talked to [Character X] last night! [Character X] has been dead for seven years!" schpiel, and treats the thing like it’s still got some juice in the batteries.I just don’t get it. Demi Moore could have signed on for any variety of studio flicks after Charlie’s Angels 2, yet her next effort is an obscure, no-name, and rather boring psycho-thriller that nobody will express a whole lot of interest in. Maybe the gal needs a new agent or something, but I’d like to see her make a real comeback someday soon.( ? Review reprinted from DVDTalk, with permission from the author (me) and the DVDT management. For the full DVD specs on this particular movie, please visit www.DVDTalk.com and get friendly with the search bar.)
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DOWNLOAD MOVIE Analyze This Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Analyze This Reviewed By Erik Childress Posted 02/15/00 15:24:00

"DeNiro and Crystal Are Perfect" (Worth A Look)

Analyze This (*** ?) - Analyze This was like a breath of fresh air for me. In saying that, I?m referring to the films I?ve seen thus far in 1998, which until this weekend, could only recommend a mere three - and we?re just starting March. The movie has its laughs spread out early on, but then really took me over as I was laughing and laughing hard.De Niro is essentially playing an archetype of every single mobster or mob-related character he?s ever played - and he plays it straight which is terrific. Billy Crystal fans have been waiting for this film from him for about five years after a string of major disappointments from a major talent. He has a lot of fun with the role and every single moment between him and DeNiro produces at least one huge laugh. Lisa Kudrow is relegated to just a prop character, not really given much to do at all - to the point that her character could have been left out of the script. Some good build-up scenes with her family are abandoned for the third act. This isn?t the most original concept in film, though it may seem so. There are numerous similarities to another funny film, a made-for-cable film called The Don?s Analyst with Robert Loggia as the mobster and Kevin Pollak as the shrink. There are also similar themes on HBO?s The Sopranos. There?s a lot that could have been added to this material to really push the envelope on making fun of earlier mob movies - but what we?ve got here is good stuff. Funny stuff. How can you resist seeing DeNiro cry? The moment he first breaks down in the film is truly classic.This is probably more like a three-star film the more I think about all the little things that could have pushed this into the area of a true screwball classic, but in a movie year like 1999, thus far, it?s as close to a 3 ?-star film as you can get. I liked it a lot.
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After submerging myself finally into Time Bandits, perhaps too late (or
too soon, if I had kids maybe it would’ve been a different experience),
I found it reminded me of a live-action version of one of these
animated adventures I would watch on TV as a kid, where a child would
be brought into a fantastical universe away from his dull, ordinary
existence, with strange friends/characters, and then go on adventures.
In a couple of small ways its even palatable to the Terry Jones/Jim
Henson collaboration Labyrinth. But the difference here is that it is
fused with some more mature humor and some darker elements. In a way
this is what the college-age fans of Monty Python in the 70’s must have
seen as the perfect film to take their kids to see in the 80’s. Terry
Gilliam, co-writer/director (co-written with fellow Python Michael
Palin), knows how to entertain, and many sequences are terrific. It’s a
shame that some of them were not as much, and a little spotty. The
sheer zaniness though, and the will for Gilliam to keep throwing visual
gags and intense, fun imagery, keeps it never boring.

It’s without a doubt that Time Bandits is in a sense a more
‘mainstream’ (err, accessible) picture than many of Gilliam’s other
works, mostly because it tries to reach into the imagination in all
people, young and old. Kevin (Craig Warnock, a good straight-character
for the audience amid all the ruckus), is in a land of his own
imagination, until a group of pillaging dwarfs (played by the likes of
David Rappaport and Kenny ‘R2-D2- Baker) traveling through time with a
stolen map with gaps through time provided by a crazed ’supreme being’.
They visit Napoleon (Ian Holm, an ingenious role), Robin Hood (John
Cleese), and by accident King Agamemnon (Sean Connery, an unexpectedly
cool role). But when the Evil Genius (David Warner, one of the funniest
performances of the film) knows they have it, he’ll do anything to lure
them in to get it from them.

This leads to a climax that in a darker, more scrambled way, reminded
me of the climax of Blazing Saddles. There, like in this film, the
story almost runs off the tracks, as many parts of history come into
play with the forces of good versus evil. It does come to a satisfying
conclusion, but in a small way is almost too much. Pauline Kael’s
comment that "the film suffers from a surfeit of good ideas" is not
without some truth. There are so many jokes, so much imagination, so
much creativity, its like a tipping scale that balances back and forth,
rarely in the middle, of how affecting it is. For children, therefore,
it is a sure bet, because children (for all of the modern corporate
grabbing and testing of material) thrive on material like this, where
the appearance of a comedian like Michael Palin in two separate,
hilarious roles, doesn’t matter as much as the sheer one-of-a-kind
nature of everything put together. Some of the film is violent (as when
the Evil Genius blows things up randomly), but always like a cartoon;
one can sense the animation influence in the style’s bones.

And that is what separates this film from the other films and shows I
saw as a child, that there is this need on the part of the filmmaker
not to stick to anything really expected, while still in a ‘once upon a
time’ framework. Some jokes may not be funny to kids until they get
older, but images like the giant trudging slowly through the water, the
dwarfs in a peril in the cages, the pageantry of the Greek sequences.
It’s all delightful, but also a little overwhelming, and of course a
bit much on the first go-around.

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DOWNLOAD MOVIE Auto Focus Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Reviewed by Glenn Erickson

They used to say that Martin Scorsese made films about people we didn’t want to know. Paul Schrader
seemingly keeps remaking Bresson’s Diary of a Country Priest - his movies focus mostly on
stories about self-destructive
men with questionable goals, who are blind to their own weaknesses. Auto Focus is one of
his best pictures, an unblinking look at the secret life of a sex addict. Greg Kinnear glows as
the friendly star who just doesn’t understand why his ‘hobby’ is such a problem for other people;
Schrader tells his
slick, unpleasant tale with just enough critical distance to avoid charges of exploitation.

Synopsis:

Successful disc jockey and family man Bob Crane (Greg Kinnear) becomes a star with
the TV comedy Hogan’s Heroes, and the fame brings him opportunities to indulge his darker
side. Abetted by a video technician, John Carpenter (Willem Dafoe) eager to hitch up with a girl-bait
celebrity, Crane frequents strip clubs and is soon having sex nightly with pickups he and his new
buddy bring back to Carpenter’s pad. Already a collector of sex magazines, Crane buys new portable
videotape equipment, and becomes a sex addict, taping and reviewing his endless orgies. Losing all
perspective, the star with the squeaky-clean image throws away two marriages along with his
career, all the while never understanding what the problem is.

Paul Schrader’s movies about tainted sinners are ultimately moralistic, but still leave
us feeling like bathtubs with dirty rings. His consistent choice of stories & characters suggests
that he considers himself in a purgatory called Hollywoood, trying to atone for some sin earlier
in his life.

In Auto Focus, the director finds material perfect to his tastes. Jake LaMotta was like a
beast-man in a classic tragedy, and we cried for him when he trashed the only symbol of his
struggle, his championship belt. Bob Crane’s tragedy is more down-to Earth and less dramatic.
Celebrity and wealth combine to free a straight-laced family man’s proclivities for unrestrained
sex. Most middle-class adulterers are quickly curbed by all kinds of limits - financial,
emotional, etc. With
the money and the sex attraction afforded by his role in a lame network comedy, Crane went
with the flow and found he liked it - by night a jackrabbit playboy, by day a church-going
Republican.

Crane’s post-murder (1978) unveiling as a secret sexaholic revealed deep contradictions that
Auto Focus, to its credit, manages to retain as the center of its story. Crane sees no
conflict between his ‘healthy interest’ in women, and his love of his wife and family. Repeatedly
finding his sex magazines, and finally his secret stash of orgy photos, Crane’s wife Anne (Rita
Wilson) doesn’t share his notions of honesty. His only real friend, and then only because of their
shared interests, is the leechlike hanger-on John Carpenter, a video and stereo technician to the
stars who loves Crane’s ability to attract unlimited numbers of attractive women.

The first part of Auto Focus is like a living version of one of those old Cad -type men’s
magazines, the ones read by Marty’s hard-up bachelor friends. Crane at first protests that
he’s a married man, but finds he has no internal barriers to a wild life of unrestrained sex.
Considering the Hollywood babes at his disposal, who could resist? Crane
and Carpenter don’t concern themselves with the hedonistic selfishness of it all - using other people,
remembering their partner’s names just long enough to greet them at the door.

Even the most modest celebrities often fall victim to an egocentric blindness to the rest of the world,
losing perspective on their position, and how their actions are perceived by others. Crane went
way off the deep end, hiding his escalating video orgies so poorly, he must think his wife and
friends are fools. He’s surprised to find that being caught with boxes of scummy sex magazines is
considered questionable, and scoffs at this agent Lenny (Ron Liebman)’s sincere concern that he’s
literally screwing
up his career. Moving into the post - Hogan’s 70s, we see Crane and Carpenter taking their
parties on the road with Crane’s little theater act, and the intially impressive sex partners
degenerate into whoever can be induced to remember his celebrity.

Finally they’re scoring on the ’swinging singles’ circuit, with partners so plain, the sex
itself has to be the only draw. Strung out and middle aged, the pair are so sex obsessed, they
masturbate in front of one another without even thinking about it;
Crane blows an already pitiful cooking show gig by sexually harassing an audience member - on
camera. A chance at a comeback in Disney movies is short-circuted by his private life, but
he still has no perspective, no inkling of anything wrong with his behavior - it’s all
self-indulgence on the part of a guy to whom nobody ever said No. “What’s the matter? People
always liked me. That’s what I am.”

Schrader deals with the murder finale very nicely, leaning toward the main suspect (the case was
never solved) but keeping things somewhat ambiguous. Crane has a last-night talk about needing to
straighten out and leave ‘the life’ behind, but that might have been the way he talked for years.
It’s a good and honest movie, but will still be harsh and unpleasant to many viewers, and offensive
to those pre-opposed to its content. Crane and Carpenter aren’t judged outright, but it’s the little
attitudinal details that condemn them. They don’t merely love sex, they get their giggles from
being randy rakes who can knock down their conquests like tenpins, all the time marvelling at
how stupid the women are. When things go bad for their sex games, their essential hatred is
expressed more directly.

Willem Dafoe’s lowlife techie may have been an easy role to play, but Auto Focus takes care
not to
give him undue blame for what was really a partnership. It’s a good portrait of the show-biz fringe
dweller who marks his success by the celebrities he hangs out with (Bob Crane? Richard Dawson? not
very high of an aim) while otherwise suffering constant petty humiliations. Theirs is more of a
marriage than Crane had with his wives - they do more living and ’sharing’ together. When Crane
belittles him, Carpenter’s inner rage makes perfect sense.

The creepiest thing about Auto Focus is how it focuses the Playboy fantasy of available
playmates with consumer affluence, in particular, fancy stereos and the then-new videotape
equipment. A
college buddy of mine once had a weird part-time job in the Playboy Mansion, carefully recording
Hugh Hefner’s favorite films with an unwieldy reel-to reel VTR. He saw no evidence of Hefner using
the equipment for anything else, and concluded that although Hef may have had a lot of girlfriends,
he kept his life in reasonable balance.

There’s so much nudity in Auto Focus, that almost the whole picture is a ’sexual situation.’
Schrader’s chosen sicko this time doesn’t smoke or drink to excess. Much of America will quickly
decide that the show is straight exploitation, simply based on its plot description. I didn’t think
it was sleaze, but I’m not sure it was particularly enlightening either, except to what was
once called prurient interest.

---

Sony’s slick DVD of Auto Focus presents its colorful photography and smooth lounge score by
Angelo Badalmenti in an attractive package, starting with the arresting title sequence.

The main extra is a serious docu on the real Bob Crane murder case that goes into great detail with
the crime and the mishandling of the case for decades thereafter. Actual police files and courtroom
videotape are used - how did anybody get clearance for all this? - and family members, policemen,
prosecutors and defense lawyers are all on camera with pungent opinions. It provides a perfect
companion to the film, by showing the miserable legacy an unsolved murder can leave.

The disc is packed with more material, especially a record number of commentaries for a film with
such a disappointing boxoffice run (see below). Savant only sampled them; with 6 additional hours of
audio content, viewer curiosity will hopefully be satisfied. The five deleted scenes are the
readily disposable kind.

---

On a scale of Excellent, Good, Fair, and Poor,
Auto Focus rates:

Movie: Excellent, but not recommended for all

Video: Excellent

Sound: Excellent

Supplements: Two part docu on the Bob Crane murder scandal, Commentary by Greg
Kinnear and Willem Dafoe, Commentary by Paul Schrader, Commentary by producers Scott
Alexander and Larry Karaszewski and Writer Michael Gerbosi, trailers, deleted scenes,
Making-of featurette

Packaging: Amaray case

Reviewed: March 17, 2003

---

[Savant Main Page][Savant Links] [Article Index] [Review Index] [Savant 5 Year Report]

DVD Savant Text ? Copyright 2003 Glenn Erickson

Go BACK to the Savant Main Page.
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DOWNLOAD MOVIE Tears of the Sun Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Tears of the Sun (2003) / War-Action MPAA Rated: R for violence, some brutality and language Running time: 118 min.

Cast: Bruce Willis, Monica Bellucci, Cole Hauser, Johnny Messner, Tom Skerritt    Director:  Antoine Fuqua Screenplay: Alex Lasker, Patrick Cirillo

 

 

Bruce and co. are sent on a special-ops mission into the Nigerian jungle with a simple mission to get an American (by marriage), and any other "non-indigenous" people out of there before the newly empowered rebel forces slaughter the village they are in.  The mission is simple, but compromised when Bruce begins to soften to the laments of the Nigerian people that the woman refuses to leave behind.  With the rebel forces hot on their tails, they must complete their mission, while also attempting to deliver the village to safety.

TEARS OF THE SUN is a good film in all respects except it needed a a more intriguing story.  There really isn’t anything bad about the film otherwise.  Bruce Willis gives a good, gritty, and low-key performance.  The supporting cast are all very capable.  Antoine Fuqua’s direction continues to impress.  Good locale work, a nice score, and terrific costumes. 

All of the pieces were in place, except for the script.  There isn’t much in the way of character development, and what little story there is feels too simplistic to maintain a high interest level.  There’s very little dialogue, but there is a lot of action, although it’s more a standard war type of action than, say, DIE HARD.

If you like war flicks without a convoluted, politically-tinged story, TEARS OF THE SUN has plenty of solid, and mostly realistic, fighting.  Don’t expect the chilling realism of BLACK HAWK DOWN or the character-driven wackiness of THREE KINGS.  This is a so-so idea for a movie, like Moses’ tale in "Exodus" without the spectacle, that is only elevated into something more due to the professionalism of all involved.  Expect no greatness, and you’ll be rewarded with competent filmmaking with the only message being that inaction is just as harmful as abetting those who would do evil.

P.S. — For those of you confused because TEARS OF THE SUN was supposed to be the secondary title to DIE HARD 4, I should tell you this is not a DIE HARD movie, nor was it really intended to be one.  This was actually a film which had the original title of MAN OF WAR, but Bruce like the TEARS title, so apparently there was some deal made where it could be used as the title in agreement for Bruce doing DIE HARD 4.  Although, it’s now doubtful if DH4, if there ever is one, will need the title since it seems farfetched that it will still be set in the jungle as originally planned, or risk further confusion.

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DOWNLOAD MOVIE Cradle 2 the Grave Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Cradle 2 the Grave Reviewed By EricDSnider Posted 07/03/03 17:15:00

"Good dumb fun." (Average)

I don?t know why directors even bother including Jet Li?s reaction shots in movies. Regardless of what other people in the scene have said or done, Li?s face will have the same expression: stony indifference, followed by reluctant butt-kicking. He is a handsomer, calmer version of Jackie Chan.?Cradle 2 the Grave? plays to Li?s strengths ? ultra-cool demeanor and extraordinary fighting skills ? and wisely avoids his weakness in the area of emotive dialogue. It pairs him with his ?Romeo Must Die? co-star, rapper DMX, and reunites both with ?Romeo? director Andrzej Bartkowiak, whose penchant for testosterone-rich filmmaking (he gave us Steven Seagal in ?Exit Wounds,? too) comes to full fruition here.Li plays Su, a Taiwanese Intelligence agent who has come to Los Angeles in search of a batch of mysterious black diamonds ? deadly in the wrong hands ? that have gone missing. Begrudgingly, he joins forces with Tony Fait (DMX), the leader of a well-organized gang of high-tech jewel thieves whose daughter has been kidnapped by yet another group of bad guys who want the diamonds for their own nefarious purposes.Evil is a question of degrees here. Fait is a thief, yes, but he gives his daughter pretty necklaces and says prayers with her at bedtime. The REAL bad guys, on the other hand, slap little girls around and occasionally kill people.Fait?s crew includes the amusing Anthony Anderson as the requisite guy-who-will-put-on-disguises-to-provide-distraction, and Gabrielle Union (?Bring It On?) as the requisite hot-woman-who-uses-sex-to-distract-people. Tom Arnold is on board, too, as a pawnshop owner with ties to the underworld.The film gets sillier as it goes, leaving reality behind and venturing into full-fledged outrageousness. Witness the cross-cutting between two scenes: In one, Fait is leading police and others on a high-speed ATV chase through L.A., captured by news cameras and viewed live by his kidnapped daughter, whose abductors are not so inhuman as to have denied her TV privileges; in the other, Su is taking on all comers, including a midget referee, at an underground fight club so brutal that spectators hold plastic sheets over their heads to avoid being spattered with blood. (If Britney Spears were the star of this movie, the bad guys would own an underground karaoke bar; since it?s Jet Li, it?s a fight club.)My other favorite scene has the bad guys demonstrating the powers of the black diamonds for the world?s top black-market arms dealers, in what amounts to a trade show attended by the Legion of Doom.Soon enough, people are delivering lines like, ?It?s time to end things MY way,? and, ?You were lucky last time; you won?t be lucky again.? It?s all an exercise in high-energy absurdity; the question is how seriously the film wants us to take it. Well, in Jet Li?s impenetrable expression I see a man who is aloof to his surroundings. And if the star doesn?t think any of this matters, why should we?
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DOWNLOAD MOVIE Practical Magic Just $2.99 for a complete movie! No additional software or browser plug-ins required! You can play them for unlimited number of times whenever you want. Downloaded movies will work perfectly on any PC, DVD player, PDA etc.
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Practical Magic Reviewed By Erik Childress Posted 02/17/00 05:16:34

"What’s the Point?" (Pretty Bad)

Practical Magic (* ?) - What was the point of this film? And that?s a legitimate question - because what is the point?Is the film supposed to be about two complete opposite sisters who happen to be witches and the lives they have to lead? How about the plot that kicks in about the abusive boyfriend, who gets killed, brought back to life, killed again, and then starts tormenting and possessing the sisters? What about the romantic angle of Sandra Bullock?s character, who, about an hour into the film, starts to like a detective investigating the case of the missing boyfriend? This film wants to be about so much that it blows every possible angle which could have made an interesting flick. There?s nothing interesting about the witchcraft aspect - especially since that?s supposed to be the main focus of the film - because there really isn?t a whole lot of witchcraft going on - a subject much more interesting in the mediocre The Craft and the far superior The Witches of Eastwick. The film isn?t very funny and I think it was meant to be a comedy. The human drama isn?t that well developed because the dead boyfriend interrupts that flow and decides to turn the film into a half-assed version of The Frighteners whenever it feels like it. And the romantic angle doesn?t really spark because it?s too little and way too late into the film for me to care.This is just a mess of a movie that needed another rewrite or ten before it got my money.
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