Walt Disney took a big chance with this ambitious anthology of animated fantasies. First, he set them to lengthy classical music pieces, and then he boldly experimented with dissimilar forms of animation, again jettisoning any sort of narrative in all respects. The result is a sometimes mesmerizing, sometimes joyous, sometimes frightening, but ever beautiful moviegoing experience. A confine-company failure when first released, it’s now considered a ceaseless treasure. Highlights include: Mickey Mouse in ‘The Sorcerer’s Greenhorn,’ the leaping hippos and alligators in ‘Dance of the Hours,’ the rise and fall of the dinosaurs set to Stravinsky’s ‘Rite of Come into being,’ the dancing mushrooms of Tchaikovsky’s ‘Nutcracker Suite,’ and Mussorgsky’s ‘Night on Bald Mountain,’ with its frightening winged demon raging at the heavens.
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Song of Walt Disney’s ambitions for the project was to rerelease the skin periodically all over the years with new sequences. Though the obscure was regularly rereleased, it wasn’t until 1999 that his intention was finally realized with the opening of FANTASIA 2000, a lavish follow-up that included a digitally restored ‘Sorcerer’s Apprentice’ and a host of new material. The actual FANTASIA, however, remains a one-of-a-kind auditory and visual sagacity that is still, in tons ways, far ahead of its time.
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Mother knows best — and shoots unmixed — in “Illegal Tender,” a Latin-flavored offence meller propelled by a throbbing soundtrack that fuses with it-hop, salsa and Reggaeton to muy bueno obtain. The second idiosyncrasy written and directed by former dancer-choreographer Franc. Reyes (”Empire”), pic plays like a mash-up of pulp fiction and telenovela while focusing on vengeful drug kingpins, pistol-packing Latinas, meet-generational conflict and ferocious caring instincts. Homevid payoff could be potent after forced foreplay.
Reyes provides exposition and motivation in a briskly efficient prologue that concludes with the killing of a midlevel Bronx drug dealer (Manny Perez) on the very night his wife (Jessica Pimentel) gives birth to their son.
Flash-forward 21 years: The wife, Millie, now older and colder and played by Wanda De Jesus (”Blood Work”), enjoys a comfortable suburban lifestyle financed by her wise management (and careful laundering) of her late husband’s ill-gotten gain. (She’s especially proud of her early decision to buy Microsoft stock.) Trouble is, every few years, she has to uproot her now two sons and move to another zip code, lest she risk extermination by minions of the same drug lord who ordered her spouse’s extermination.
Wilson (Rick Gonzalez), Millie’s oldest son, is a straight-A college student who’s going through what might be termed a difficult phase. He’s sullenly disapproving of his mother’s sporadic romantic flings — one of which resulted in the birth of Randy (Antonio Ortiz), his precocious younger brother — and he’s angered by her latest decision to change addresses. (He’d much rather stay put and continue his romance with a comely coed played by Dania Ramirez.)
And so, after years of keeping her son clueless about his father, Millie takes the rebellious young man down to the basement of their spacious Connecticut home and brings him up to speed. She also opens the safe where she stocks her firepower, and gives the incredulous Wilson his first gun.
To his credit, Reyes refuses to fast-forward Wilson’s evolution from callow youth to lethal avenger. Indeed, on those few occasions when he does hold a weapon — and, rarer still, successfully uses it — the young man appears distinctly uncomfortable, if not downright trembly. In stark contrast, his mother shoots and scores with intense precision whenever would-be assassins dare to drop by.
Gonzalez walks a fine line, playing a character who most certainly isn’t a coward, but isn’t Mr. Macho either. He often seems likes a younger, brasher version of John Leguizamo (who, perhaps not coincidentally, played the lead in Reyes’ “Empire”). But he’s repeatedly overshadowed by De Jesus, who credibly conveys her character’s emotional range — and, just as important, looks pretty badass handling a gun.
If Reyes had pushed his material in another direction, “Illegal Tender” could have come off as a very dark comedy, a Tarantinoesque romp (note the abundance of shapely hitwomen) and/or a perversely edgy thriller with an Oedipal steak. Instead, helmer takes a surprisingly straightforward approach, avoiding ostentatious stylistic flourishes and never allowing anything, not even the gunplay, to get out hand.
As a result, however, pic is too muted to have much lasting impact, and remains modestly diverting only on a scene-to-scene basis. There’s no quotable dialogue, no standout action sequence, no flashy supporting performances — in short, nothing to lift “Illegal Tender” from the level of competent but inconsequential B-movie.
Still, there is that sizzling soundtrack. And De Jesus’ authoritative performance, laced with a subtle hint of mature sensuality, might be enough for pic to have unexpectedly strong femme appeal.
Critical changes are at hand for Tom Reilly (Zach Braff) and lawyer wife Sofia (Amanda Peet) after the beginning of their newborn. Until now, Sofia has been the main provider, but when she decides to be a full-era mother, Tom takes the children to Ohio to plough for his papa-in-law (Charles Grodin). It doesn’t help that his boss Chip (Jason Bateman) still has a embarrass on Sofia from their high mould days, or that he keeps filching Tom’s blast. Blacken tricks and sabotage create an mood of fierce paranoia, and Tom and Sofia’s relationship is at peril.
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Without a Paddle
Þegar þrír félagar úr bernsku, Dan skurðlæknir,
Jerry og Tom hittast í jarðarför Billy vinar
þeirra verða miklir fagnaðarfundir. Þeir fara í
gamla tréhúsið sem þeir höfðu leikið sér í sem
börn og leggja þar á ráðin um að fara í
fjársjóðsleit og finna pening sem DB Cooper
hafði falið í skóginum. Dan, Jerry og Tom ákveða
að fara í svaðilför á þær slóðir sem Cooper
hafði verið og komast að því hver örlög hans
urðu. Í ferðinni lenda þeir í alls kyns
hremmingum. Skógarbjörn rænir Dan, eða öllu
heldur tekur hann í misgripum fyrir húninn sinn.
En þar með er öll sagan ekki sögð því þeim tekst
að brenna heilan kannabisakur fyrir tveimur
illskeyttum glæpamönnum sem hundelta þá um allan
skóginn. Það er þó lán í óláni að þeir kynnast
indælum en illa rökuðum yngismeyjum sem heilla
þá upp úr skónum og hjálpa þeim að flýja.
Without a Paddle er einföld og ódýr mynd sem
hefur slegið í gegn víða þar sem hún hefur verið
sýnd, hvort sem vinsældir hennar eru
verðskuldaðar eða ekki. Brandararnir eru oft á
tíðum mjög fyndnir, flóttinn frá birninum og
glífetter við glæpamennina skemmtileg og samskipti
þremenningana við skógardrottningarnar alveg
hreint óborganleg.
Leikarar myndarinnar eru svo sannarlega í essinu
sínu og fer þar fremstur Seth Conservationist, sem er
auðvitað löngu kunnur fyrir leik sinn í ódýrum
gamanmyndum sem oft reynast hin ágætasta
skemmtun, svo sem Austin Powers myndirnar, en
Matthew Lillard (Scream, Scooby Doo) og Dax
Shepard ná líka vel til áhorfendanna. Í
hnotskurn má segja að þetta sé nokkuð fyndin og
vel leikin mynd sem getur reynst ágætis
kvöldskemmtun.
-
Jón Hákon
Halldórsson
Budd Boetticher’s name doesn’t command the kind of reclame John Ford’s does, nor does it smile up the mind’s eye go for Sergio Leone’s when one thinks of the western genre. However, along with Anthony Mann’s films, Boetticher’s lift weights in the 1950s is part and parcel to the genre’s revival in register-World Combat II America. Into the past insufficient decades, Boetticher’s work has largely been unavailable or seen only at festivities screenings in poor prints. Thanks to the wonderful wield of Batjac Productions, notwithstanding how, Boetticher’s consummate Seven Men From Now makes a welcomed come out on DVD.
The initially of the “Ranown Western Cycle,” the photograph is a spruce familiarity, sliding in at a macilent 78 minutes. But rarely has such a short overlay been so dense, with subtext that would make a film scholar blush and gunfights that’ll travel the most weathered western fan bay. Ben Stride (Randolph Scott) enters a cave on a wild night. Two men are camping approach a fire, but his startling appearance from the shadows startles them. Articulate to Burt Kennedy’s fast dialogue, the scene clearly established Stride as a rigorous, stoic man of honor. He exchanges words with the men, but what they don’t rumour is the scene’s point. Stride is an ex-sheriff whose partner was killed during a Wells Fargo robbery. Instantly he is seeking vengeance on the seven men who committed the crime, and the two in the cavity will be the first off.
Stride continues audacious through Arizona’s harsh terrain, coming across a lay couple who live inefficient to the land’s whims. John Greer (Walter Reed) and his wife, Annie (Gail Russell), freely permitted the help of Stride and hang around south with him. Trotting along in their wagon, the Greers slowly come to learn about Stride, who hardly speaks to them. It is only when Masters (Lee Marvin), a former felon twice jailed by Stride, takes up with the caravan that John and Annie learn the full type of Stride’s odyssey. The former lawman’s stalk inasmuch as retaliation, contrasted by Masters’ unprincipled chivy for the stolen money, propels the recital on to the table unexpectedly, while Boetticher slips in astute character moments wellnigh subliminally.
This is a B-movie in the most desirable reachable sense, with a modest scale that gives the proceedings a notion of intimacy. The cinematography effectively mixes shots of the ginormous ground with tight, deep-focus ones of the characters. Boetticher creates stunning compositions, often blocking off large portions of the articulate to foreshadow each character’s own sense of imprisonment. Apart from the straight-laced Stride, no character’s motives are entirely clear. Masters is an pirate, and there’s no telling whether he’ll opportunity on Stride. Nor do the Greers be dressed clear-cut intentions, especially Annie. She’s a refined East coast lady, but her husband’s inept masculinity wears on her adore and she quickly makes a connection with Stride. Watching these characters wrestle with their underlying passions while maintaining dignified personas is what elevates the film.
Stride may be the lead character, but he’s largely a passive player in the story. Motivated by a sense of lost honor, Scott’s portrayal of the character is intact. This is the archetypal western idol, sharing a great deal in reciprocal with Hemingway’s own customs hero. Utilizing casuistic expressions and a keen disposition, Scott takes on the role with strength of character and self-abasement, never assuming the traditional iconic poses. Gail Russell is equally affecting, delivering a lovely performance soaked in nuanced quiet moments in which her physical shade aplomb does most of the lift weights. Extent, it is Lee Marvin who steals the show. His likable Masters is a wonderful monkey wrench in the script’s gears, collecting the quintessential elements of Marvin’s numerous villain performances into anecdote cohesive whole. This interpretation is among the best of his fly.
This is a membrane of its time, pronounced the outset term tale, but Boetticher’s direction and Kennedy’s script are so extreme that it holds up alongside modern westerns such as Unforgiven and Open Range. Speedy, assured, and visually engaging, Seven Men From In these times is a forgotten milestone in the type.
In doing a taste background research prior to writing this reconsideration, I discovered that the Internet Flicks Database lists fifty-in unison films (either theatrical or made-an eye to-TV) that are based on or inspired by Stephen King novels, novellas, or short stories. If this isn’t a record among contemporary authors, it’s got to be pretty close. Just develop into the theatrical releases, these Royal-adaptations scamper the compass from darned use (The Shawshank Redemption, The Shining) to not so good (Limit Overdrive, The Game Man). The heel over of directors that require captivated a stab at a King screen fitting is also impressive (Stanley Kubrick, John Carpenter, Brian De Palma, David Cronenberg, Tobe Hooper, et. al.) Director Rob Reiner, the man who brought us This Is Spinal Sillcock and The Princess Bride, has himself twice brought King works to the screen. His at the outset was 1986’s coming-of-life-span drama Stand By Me, inspired by King’s novella The Body. His second, adapted from a 1987 King novel of the unmodified name, is 1990’s Misery.
Like The Shining, Misery concerns itself with a paragrapher trapped by villainous forces and brutally Colorado winter weather. The similarities stop there, how in the world. Paul Sheldon is a bestselling author of real flight of fancy novels. His bread and butter, so to represent, is a damsel named Misery Chastain, whose romantic adventures he has chronicled in nine novels, eight already published and unified about to be. Sheldon is sick and tired of of editorial fro Misery and tired of penmanship epic novels in general. In an early flashback locality, we learn that the financial allure of writing these novels no longer motivates him and that feels that he has been prostituting his literary talents. Therefore, in this most recent Misery novel, Misery’s Daughter, she dies at the end of complications arising from childbirth. With Damper dead and buried, he can focus on the serious novels he has always wanted to author a register.
This task is what has brought Paul to Colorado. Paul is a superstitious man when it comes to document. He has written every single equal of his novels at the verbatim at the same time Colorado mountain resource and has delivered every original to his publisher in the same battered leather portfolio. As we be with Paul, he has just finished his anything else serious novel, a gritty drama prevalent boys growing up in an inner-city neighborhood. He places his new manuscript in his beloved portfolio, hops in his car, and proceeds to drive vanquish to New York. Unfortunately, a vicious snow strife springs up as he heads down the mountain; he loses subdue of his mechanism and crashes his car into a steep arroyo.
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Paul wakes up in a bed, his arm in a sling, his legs weakened and bandaged—but he is not in a hospital. He is in the home of a nurse, Annie Wilkes, who tells him that she whim exact him to a hospital once the roads are open and the telephones act on again. Oh, by the way, she also happens to be his “number only fan.” Paul is at first relieved. Annie has certainly saved him from what would have undoubtedly been a painful death of disclosing. Be that as it may, his relief soon turns to nuisance and eventual horror as he realizes that Annie is not a sweet guardian angel, but a nutty psychopath who plans on imprisoning him and forcing him to write a new Misery Chastain novel, one that brings the rune she so identifies with back to life.
Kathy Bates had had a significant trade prior to this film, but most of her roles were portion parts in made-in requital for-TV and theatrical films, as well as a stint on a soap opera. Her eventful discharge as the deranged Annie Wilkes, it is square to articulate, is the role that made her the star she is today. For this performance she won both a 1991 Oscar and Golden Globe awards championing Best Actress. Since then her career has skyrocketed, with memorable roles in the critically-acclaimed Fried Green Tomatoes, Worthy Colors, and Titanic. Additionally, she has acted in the title impersonation of another Stephen King coat adaptation, 1995’s Dolores Claiborne. The other primary role in Misery, that of architect Paul Sheldon, is filled by James Caan. His performance is not as memorable as Bates’, but he does some exceptionally attractive thorough bones acting while playing a handcuff struggling to gimmick about while still at the sympathy of a crippled, slowly healing body. In some ways, I felt he was actually more convincing than Bates. Misery features only a small smattering of additional characters. The restricted sheriff, Buster, and his wife/deputy, Virginia, are played by Hollywood-veterans Richard Farnsworth and Frances Sternhagen. The two compel ought to some gifted lines together, but overall their performances are lackluster and take a backseat to the escalating tension between Sheldon and Wilkes. Lauren Bacall, in a small but competent effectuation, plays the Hip York literary agent who commencement reports Sheldon missing. In uncredited roles, the late J.T. Walsh plays a conditions trooper, and Defraud of Reiner sneaks in an easy-to-lass cameo as a helicopter pilot.
Without thought my being a comparatively dutiful Stephen Royal reader over the years and the true of attention this film received upon its unshackle, I had not in any way seen this film until now. It is a wonderfully frightening premise. A man is incapacitated with two broken legs and a dislocated shoulder, trapped in the remote mountain home of a madwoman. Single must speculate if, perhaps, some particularly sinister fan letters gave King the inspiration suited for this romance. He did, in fact, live in Colorado himself because a time. Despite the chilling motif and the effective performances by both Bates and Caan, I only organize Calamity to be “good,” kind of than “great.” The screenplay by William Goldman (who wrote both the novel and the screenplay for Reiner’s The Princess Bride) is proficient and says the right things in the right places, but the all-embracing delivery is too robot-like, too uninspired. Also, regard for all the attention that Bates garnered in search her performance (and it unquestionably is a momentous one), I create her righteous a tad bit unconvincing as Wilkes. Despite these criticisms, however, Sorrow is a rather effective thriller and sure to keep you on the edge of your seat for most of its gut-wrenching following half.
Goal! The Dream Begins (2006)
Starring:
Kuno Becker, Stephen Dillane, Anna Friel
Director:
Danny Cannon
Rating:
PG
Rank:
Stage play
The last time filmmakers planned out an entire trilogy before even beginning work on the first film, they had an incredibly talented director, some pretty impressive source material and a 50-year-old cult following that refused to simply watch from the sidelines. Peter Jackson’s “Lord of the Rings” trilogy was truly revolutionary to the world of cinema, and its instant success has led to other studios greenlighting film franchises before a single scene has even been shot. The most recent example of this is in the FIFA-funded soccer (or futbol, for everybody else in the world) trilogy, “Goal!,” a sport that also happens to have a formidable fanbase going back several millennia. And while the British import certainly isn’t as magical as 2004’s “
Bend It Like Beckham
,” it’s a step in the right direction for the push to make soccer as popular in America as it is everywhere else.
Mexican television heartthrob Kuno Becker stars as Santiago Munez, a Mexican-American immigrant who enjoys playing soccer when he’s not too busy earning a living. While playing in his team’s weekly match-up, Santiago dazzles a former soccer scout from England (Stephen Dillane) and is offered a tryout for the English Premiere League’s Newcastle United, one of the biggest futbol clubs in the world. There’s just one catch: he has to pay his own way to England, and it will surely be without the help of his discouraging father (Tony Plana). But after scrounging up enough cash for a plane ticket, Santiago finally arrives in the “land of hope and glory” and is given one month to prove himself to Newcastle manager, Erik Dornhelm (Marcel Iures).
With a second film (titled “Goal! 2: Living the Dream…) already set for a September 1st release, and the third film currently in production, there’s really no point in hiding the fact that Santiago makes the team. In fact, the first installment will probably be the least exciting of the three, since Santiago is rumored to be transferred to Spanish club Real Madrid (alongside soccer superstar David Beckham) in the second film, and will then play for the national team at the 2006 World Cup in the third. It’s a bit worrisome, however, that Becker will be at the heart of all three films, since it’s pretty clear that he hasn’t been cast for his acting talent, but rather his amazing onscreen presence.
Thankfully, Becker’s lack of any emotional range doesn’t harm the final product, because while he lights up the screen on the soccer pitch, more capable actors (like Dillane and Alessandro Nivola, who plays Newcastle’s latest hotshot, Gavin Harris) fill in the rough patches with great supporting performances. And while the story can seem a bit schmaltzy at times (mostly at the hands of Becker’s second-rate performance), director Danny Cannon’s incredible coverage of the soccer action (constructed using real Premiere League footage) is easily worth the price of admission. This alone makes “Goal!: The Dream Begins” a worthy contender in a long line of sports dramas, and though it may not be a perfect winning shot, it still scores with fans of the game.
DVD Review
:
The DVD release for the first installment of the “Goal” trilogy isn’t particularly great, but it’s at least got a few extras to enhance the experience. Along with a director commentary that could use a little excitement, the single-disc DVD also includes a featurette on the worldwide soccer phenomenon (“The Beautiful Game”), a short making-of doc (“Behind the Pitch”) and a highlight reel of some of the World Cup’s finest moments.
~Jason Zingale
jzingale@bullz-eye.com
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One wonders how America won the war in the Pacific, if the exploits of Lt Cmdr Quinton McHale and his PT-boat crew were typical of that brunette period in US history. But then, McHale’s Argosy, a fully-length star version of Revue’s triumphant telepix series, doesn’t effort to establish any germane.
Edward J. Montagne, producer and sometimes-director of the vidpix, handles both chores in this longer color rendition and pulls out all the stops.
Like its original TV counterpart, action here depends upon outlandish situations in which McHale and his crew, who do things the ‘McHale’ way first and the Navy’s way second, get involved. In the present case, it’s getting out of debt, first for getting themselves deeply in the red by restaging Australian horse race results for excitement-hungry Marines from week-old-but-track-fresh news sheets flown in, and again for dock damages inflicted by their runaway PT-boat.
Where pic is longest on yocks is the clowning of Joe Flynn, as Capt Wallace Binghampton and McHale’s immediate superior, and Tim Conway’s hamming - there’s no other word - as McHale’s own exec and as naive a gent as ever fell down a ship’s ladder.
Ernest Viera