Posts Tagged ‘actress’
Rent Review.
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Rent Review.
Compare & Purchase Rent at Amazon by clicking here! List Price: —- Amazon Price: $9.99 |
Rent Description:
- Amazon Sales Rank: #4348 in Movie
- Released on: 2006-06-06
- Rating: PG-13 (Parental Guidance Suggested)
- Running time: 136 minutes
Customer Reviews:
There’s Only Yes
I saw the movie in a beautiful theater in downtown San Francisco on the Saturday after Thanksgiving and was surprised to find so few people in the movie theater–maybe 75 of us, and the theater could have fit 500. I wonder if some of the lukewarm reviews haven’t influenced people’s decisions to go to RENT. Hope not, for I’m here to tell you, this movie is dynamite and IMHO much, much better than the play. For one thing, in the movie you can hear every word, even with the increased rock instrumentation, for hundreds of sound experts have worked their magic and made sure that even people underwater could hear every single syllable; whereas on stage, it depended from night to night what percentage of the lyrics were going to be coming across the temperamental sound system of the Nederlander (NYC).
I did miss Daphne Rubin-Vega who was incomparably sexy and chilling as Mimi, but I never believed her being in love, and Rosario Dawson looked like she was just ‘playing’ at being bad and underneath she was ready to fall in love as soon as she saw Roger through the window. Her scenes of addiction are captured in the movie effectively, in a rpaid montage that might disconcert some rentheads but will, I think, be easily understood by those new to the show.
Yes, some of the actors looked older than 20 somethings. But we forget that most of those who died of AIDS in the 1989-90 period were actually in their 30s. What’s the big deal? To me, Angel’s fate is all the more sad because he seemed to be healthy for so long and then, all of a sudden, well, any more would bring me into spoiler territory.
Idina Menzel is not as over the top as she is on stage, but there’s still plenty of fire power there, and she’s bigger than anything in the movies since the heyday of Betty Hutton! She looks remarkably beautiful and she doesn’t miss a trick; and just when you think she’ll overshadow Tracie Thoms as her attorney girlfriend, Joanne, the latter pulls off some memorable comic business and signals her disappointment and regret with her expressive brown eyes. Anthony Rapp is charming as Mark Cohen, he comes off as a tiny terror, I wonder how tall he is, the constant scenes of him snarking down the streets with his fists clenched in anger at his sides, but no one else around to reveal his true proportions–the old Alan Ladd trick. And Adam Pascal is suave and tormented in equal measures as Roger. His eyelashes are so long I expected them to have a special spotlights in the credits, but no.
I have to disagree with the posters who claim that Larson wrote all the best numbers for the men in the cast. Maybe that’s personal pleading, but I find the best songs pretty much divided right down the middle. Mimi’s “Out Tonight” isn’t as exciting as on stage, but it is much more compellingly staged, as Rosario Dawson steps out of the Cat Scratch Club after her shift only to launch into the second verse, and seems to scale the wall of the loft to get to Roger like Catwoman in the third. (“I’ll let you make me . . .”) “Light My Candle” suffers a little without Daphne Rubin-Vega in it, and Adam Pascal acts as though he knows he’s cheating on her with Rosario Dawson. Afterwards he gets his balls back. The ensemble singing of “Will I?” and “Another Day” are perfectly staged and rehearsed, and it’s there that I started to lose it. I guess I must have spent the last seventy minutes of the movie in a continual rain of tears. By the end I had to sit through all the credits in a vain attempt to gather composure. The faces of those whom I lost to AIDS flashed before my eyes. Not all of them, but some of them. I did resolve to go out and try to practice love on a grand scale. They got me this time. “No other path, no other way, give in to love or live in fear.”
These sentiments are vapid and, in the daylight, seem a little silly, but the beauty and power of the movie is to convince you of their truth. Good work all around. I hope the movie’s an enormous success.
La Vie Boheme!
I was born to love “Rent.” Having grown up listening to my mother’s record of “La Boheme” playing as she did her housework, I anxiously anticipated seeing the Broadway production when I was in New York in 1999. Although, it was superb, the movie version was so much more enjoyable to me, mainly because the words to the beautiful songs were clear and much more understandable. I realize Broadway is a one-shot deal and a movie can have countless takes on a scene, so I’m not putting down the play I loved in any way, just saying the movie was an easier and more enjoyable viewing experience.
From the spectacular opening scene where the full cast sings the beautiful “Seasons of Love,” the stage is set for a glorious celebration of life, living it to the fullest, and enjoying every moment. Yes, there is heartbreak on the screen and many moist eyes in the theater, but this is mainly a joyful story of friendship, love, and reaching out to your fellow man.
The acting is superb, lovingly done by actors who obviously relate to their roles in a profound way. Wilson Jermaine excels as Angel, especially in the show-stopping “Today 4 U.” Adam Pascal and Rosario Dawson are believable as the romantic leads and Jesse L. Martin will astound his “Law and Order” fans with his rich singing voice and dancing ability. All the cast is marvelous, the show is electric with its high-energy singing and dancing, and overall, the best movie I have seen in a long, long time. I will definitely get the DVD the day it is available.
Rent the movie meets and surpasses expectations
I have seen both the movie and the stage version of Rent. I love both of them. But, we’re here to talk about the movie. I love the fact that most of the original cast is back for this. Adam Pascal and Anthony Rapp are perfect as Roger and Mark. Adam shows the tortured soul that is Roger. Finding out he has HIV and dealing with his girlfriend’s death puts him in a place he never thought he would be. Mark, Collins, Angel, and Mimi help him realize that he isn’t dead yet. Adam takes you through that journey with all the emotions that entails. Anthony shows Mark’s emotions throughout the piece. The look on his face when he sees that Roger has come out of the house, and come to the Life Support meeting shows you just how much he cares for his best friend, and how worried he was, and still is for him. Having them in two sepereate locations for “What You Own” also helps the characters and gives the actors a new way of playing the scene. When they come together on the roof and you see the emotion as they say “I’m not alone,” that is when they both come to the realization that they aren’t alone and they don’t have to be. And I have both the OBC and Movie soundtracks, and I’ve got to say their preformances on the movie soundtrack have improved. How can you not love Wilson Jermaine Heredia as Angel? He is Angel. Jesse L. Martin blew me away as Collins. And if you have seen him in Law and Order, you will love him in this. Wilson and Jesse together are a terrific pair and to see them portray Angel and Collin’s relationship is magic. I do think Taye Diggs was a little underused, but with having to condense the play to a movie time frame, Benny was the one who would have to suffer. Idina Menzel rules as Maureen, but neither she nor the actress who I just saw play the part will make me like Over the Moon. That is not my favorite moment in either the movie or the play. Now, to the new additions. In my humble opinion, Rosario Dawson blew Daphne Rubin-Vega out of the water. I thought Daphne sounded whiny as Mimi, Rosario brought life, depth, and fun to her. Tracie Thoms as Joanne was a wonderful addition. I did miss Fredi Walker’s voice, but Tracie held her own and made the part hers. Another reviewer seems to think that Adam Pascal and Idina Menzel are suffering from detoriating voices. That is not the case. Adam’s preformance, as I said before, exceeded the OBC version. If you don’t like hearing his voice in Rent, then I recommend a change of pace, there is the OBC of Aida and his two solo albums, Model Prisoner and Civilian, that will give you a different prespective. Idina hasn’t suffered from her preformance in Wicked, she has improved. I look forward to watching the DVD and the deleted scenes, which from what I understand will include the rest of “Goodbye Love” and “Halloween.” Unfortunatly, “Contact” wouldn’t have worked in the movie. Seeing Collins holding Angel in his arms at the hospital brought you to the same place emotionally as the end of Contact. I hope that the people who didn’t see this in the theater will give it a chance on DVD. The story line is still relevant. There are still people living with, and dying from, AIDS. Jonathan Larson’s vision still rings true. “There’s only us, there’s only this. Forget regret, or life is yours to miss. No other road, no other way. No day but today.”
Juno Sale-$9.99!
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Juno
Product: Juno Sale-$9.99! List Price: —- Amazon Price: $9.99 Add to cart to see low price@ Availability: In Stock Usually ships in 24 Hours Free Shipping Available |
- Amazon Sales Rank: #7579 in Movie
- Released on: 2009-11-17
- Rating: PG-13 (Parental Guidance Suggested)
- Running time: 97 minutes
A Complex Tale Told with Humor, Tenderness, and Simplicity
Teenage pregnancy is frequently a starting point for myriad philosophical arguments: some see it as a major problem, some see it as an argument for the need of early teaching of contraceptive technique and sex education, some see it as a reason for championing abortion, and some see it as a piece of life that confronts families in both positive and negative ways. JUNO is a beautifully written (Diablo Cody) and directed (Jason Reitman) version of unplanned pregnancy offered by a splendid ensemble cast: it is a movie that could modify the sociologic outlook of many people in a very strong fashion.
Juno (Ellen Page) is sixteen and talks her best friend Bleek (Michael Cera) into having sex: the result is a surprise pregnancy that Juno shares with her girlfriend Leah (Olivia Thirley) and the store clerk Rollo (Rainn Wilson) even before informing Bleek, a likable kid who seems fairly flat about the situation. After discarding abortion as a viable solution, Juno informs her father (JK Simmons) and stepmother (Allison Janney) of her status, and tells them she is going to complete the pregnancy and give the baby to some loving and needy barren couple. Her parents are at first flustered by the news, but quickly become supportive in a way that tells us many things about the durability of successful families. With Leah’s help, Juno answers an ad for ‘wanted: baby’ in PennySaver and visits the Lorings (Jennifer Garner and Jason Bateman) who desperately want a child and embrace Juno’s gesture of adoption with eager excitement. The remainder of the film follows Juno as her abdomen increases in girth, finding new respect for her parents and for Bleek, and inadvertently walking in the troubled waters of the Loring’s marital discord. Without giving the story away, the ending is so tender and free of cliché that it allows us, the audience, to appreciate all the vigor and sensitivity and humor and warmth of Juno – an example of developing maturity that is a fresh breeze compared to the usual teenage movies.
Ellen Page does indeed deliver a pitch perfect performance, but her co-stars are equally fine: Simmons and Janney break away from their usual type cast roles brilliantly, and the other members of the cast (the entire cast) flesh out this well written story with great skill. The mixture of animated graphics and the imaginative musical score enhance the flavor of the tale. JUNO offers an unbiased look at the topic of teenage pregnancy and wins on every level. Grady Harp, April 08
Two-Disc Special Edition Chock Full o’ Extras!
Juno was Little Miss Sunshine of 2007 – the little independent film that could. Once the studio realized that it had a successful crowd-pleaser on its hands, the film was promoted from the art-house circuit to the multiplexes. Actress Ellen Page and first-time screenwriter Diablo Cody became the film’s breakout stars garnering the lion’s share of critical raves and awards with Page getting an Independent Spirit Award and Cody an Academy Award. Now that all of the dust has settled, Juno can be reassessed to see if it really has the staying power and substance to cut through all of the hype and stand-up to the inevitable backlash.
There is an audio commentary by director Jason Reitman and screenwriter Diablo Cody. The first thing that you notice when listening to Cody talking is how well Ellen Page mimicked her way of speaking. Reitman tends to dominate the track and, not surprisingly, talks about filmmaking aspects like the casting of minor roles, the attention to details for the sets, how he shot certain scenes, and so on. This is pretty decent track filled with lots of anecdotal stories and production details.
Also included are 11 deleted scenes with optional commentary by Reitman and Cody. We meet Juno’s crazy next-door neighbour. There’s also a different introduction to Juno’s family. We see Mark and Vanessa’s first attempt to adopt. There’s also an amusing bit where Juno has a solo gig and sings a song about getting pregnant. These are all good scenes and Reitman explains why there were cut.
There is the obligatory “Gag Reel,” a hilarious collection of blown lines and goofs with Bateman making Page break character time and time again.
The “Gag Take” is an odd scene where Rainn Wilson and Reitman get into it with a mock heated argument.
“Cast and Crew Jam” features the cast and crew members rockin’ out to a song in this mock music video.
There are “Screen Tests” for Ellen Page and Michael Cera. In the scene they do together you already see them in character and displaying excellent chemistry. There is also a test with Page and Olivia Thirlby and one with Page and J.K. Simmons as well.
“Way Beyond `Our’ Maturity Level” takes a look at the characters of Bleeker, Juno and her best friend Leah with interviews with the actors that inhabit them. Diablo Cody talks about how they are based on people in her life.
“Diablo Cody is Totally Boss” is a profile of this novice screenwriter who got her start writing a blog and got noticed by a film producer. Reitman recalls his initial impressions of the script and the cast gush about its “unique voice.”
“Jason Reitman for Shizz” takes a look at the director. The producers gush about how he was the right fit for the material. He talks about establishing the right tone and how he shared the same vision for the film as Cody.
“Honest to Blog!: Creating Juno” features Cody and Reitman talking about how the film came together. She credits her stylized dialogue to spending lots of time on the Internet. Cody also talks about how she came up with the idea for the story. They talk about specific scenes and her knack for depicting an unconventional family.
Wondering what “…with digital copy” means?
It means the bonus disc includes a digital copy of the film that can be automatically downloaded to a laptop or iPod. Seems obvious after you know it, huh? The second disc also includes some extra bonus features not on the single-disc DVD — four featurettes titled “Way Beyond ‘Our’ Maturity Level: Juno – Leah – Bleeker,” “Diablo Cody Is Totally Boss,” “Jason Reitman For Shizz” and “Honest To Blog! Creating Juno.”
Watch Tammy And The Bachelor / Tammy Tell Me True / Tammy And The Doctor Movie Online
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Watch Tammy And The Bachelor / Tammy Tell Me True / Tammy And The Doctor Movie Online.
Movie Title: Tammy And The Bachelor / Tammy Tell Me True / Tammy And The Doctor Tammy And The Bachelor / Tammy Tell Me True / Tammy And The Doctor is available for streaming or downloading. Click Here to Stream or Download Tammy And The Bachelor / Tammy Tell Me True / Tammy And The Doctor |
“Tammy and the Bachelor” is the best of the “Tammy” series, with astonishing and very bewitching performances by its stellar cast, including the energetic Debbie Reynolds, who not only entertains the viewer with her role as the backwoods Tammy Tyree, but also actually becomes her! Debbie Reynolds also had vital success with the movie’s theme song, “Tammy” (better known as “Tammy’s in Treasure) .” One of the most memorable scenes to me is of Tammy performing as a Southern lady tour guide and gives a astounding and sentimental performance that you won’t forget! Also primary is Fay Wray as Pete’s mother, Mrs. Brent and Mildred Natwick as the eccentric Aunt Renie, artist and cat lover extrodinaire! “Tammy and the Bachelor” is followed by three sequels, with Sandra Dee taking on the fraction of Tammy Tyree in “Tammy, Command Me Right” and “Tammy and the Doctor,” and then Debbie Watson as Tammy Tarleton in 1967′s “Tammy and the Millionaire,” which is sadly missing from this site. Though all three movies included her in this space are appetizing and though-provoking in their contain intention, “Tammy and the Bachelor” is a correct classic movie gem and should not be missed! The three “Tammy” movies smooth here are a welcome addition to any classic movie dvd library and will add a nice touch of ’50′s innocent whimsy to your classic romantic comedy dvd collection! It’s substantial to finally gawk these fabulous titles getting the dvd treatment!
“Tammy and the Bachelor” (1957)
Sentimental and sugary behind `50′s comedy with astounding performances throughout, “Tammy and the Bachelor” is one of those movies that you simply cannot relieve but savor watching again and again! The dwelling involves a glorious, young man who has objective crashed his plane in some backwoods swamp. The man is then rescued by young and elegant Tammy Tyree (Debbie Reynolds, who gives a heartfelt performance) who lives with her lay-preacher-cum-moonshiner grandfather (wonderfully performed by Walter Brennan) in a houseboat next to the riverbank. The young man introduces himself as Peter Brent (Leslie Nielsen), and is charmed by the sweet provocative Tammy. Before Peter leaves, he tells Grandpa that if he ever needs any assist, to near secure him. It isn’t long until Grandpa is sent to jail for his moonshining, so he sends Tammy to end with Pete. Tammy discovers that Peter Brent is not only a sparkling bachelor, but is also very wealthy! Pete, as well as his entire family, salvage caught up in Tammy’s home cooking, enthusiasm and quaint sunshiny personality which brings about changes in Pete’s family and in Pete himself!
“Tammy, Mumble Me Just” (1961)
Following the success “Tammy and the Bachelor,” Sandra Dee takes on the fragment of the backwoods, riverboat gal, Tammy Tyree. In search of an education to better herself, Tammy is off to college and is soon caught up in the lives of the college staff, especially young and gorgeous college professor, Tom Freeman (John Gavin) . A fun and energetic romantic comedy that is both arresting in it’s simple chronicle telling and the comedic situations. Tammy tries her hand at babysitting some unruly kids whose parents refrain from disciplining them. And the outcome is hilarious! I also enjoyed the astonishing scenes with Tammy becoming a paid companion to a wealthy widower, Mrs. Annie Call (Beulah Bondi, who gives a colossal performance) and discovers a kindred spirit in the seemingly bitter passe lady. “Tammy, Stutter Me Honest” is fascinating in its storytelling and the cast gives moving performances. Sandra Dee’s seize on the “Tammy” role is absorbing and she is (as always) sweet and lovable to glimpse. A fun and toothsome addition to “Tammy and the Bachelor” that you’ll bask in watching again and again!
“Tammy and the Doctor” (1963)
Sandra Dee reprises her role as the down to earth Tammy Tyree in this third installment of the “Tammy” series. Though consuming in its overall storytelling, “Tammy and the Doctor” seems more corny than loyal in the cast performances this time out. The position consists of Tammy becoming a candy striper at an residence hospital, where she meets young and magnificent Dr Price Cheswick (Peter Fonda) . The nurses have a laugh at Tammy’s backwoods philosophies and once again, Tammy has to site things straight in each of their lives. An delectable cast includes Macdonald Carey as Dr. Wayne Bentley and Beulah Bondi reprises her role as Mrs. Annie Call. Though not up to par as it’s predecessors, “Tammy and the Doctor” is savory enough for an occasional night of TV viewing.
This has been a gargantuan year for Ross Hunter on DVD. In addition to the Lana Turner melodrama double feature, Universal now gives us three comedies for a gross brand in this area. All three “Tammy” films made from 1957-63 are included. If you are looking for some family entertainment or an evening of nostalgia, this residence is for you.
Taken chronologically, the first film “Tammy and the Bachelor” was released in 1957. Producer Hunter borrowed Debbie Reynolds, who was under contract to MGM, to play Tammy Tyree (short for Tambey which means immortal) . This was a mountainous A-budget film in Technicolor and CinemaScope. I am distinct he knew that if he didn’t have a “Tammy”, he didn’t have a movie.
Reynolds is a delight as the truth-telling, blunt river girl who finds herself sharing lodgings with the Brent family. Leslie Nielson is the very fine pilot who crashes a plane in a swamp and is rescued by Tammy and her grandfather (Walter Brennan) . A lot of viewers seem to remember that the Brents were rich, but they actually didn’t have remarkable money. Son Peter (the “Bachelor” of the title) was trying to rep a method to manufacture the land pay for itself. The only income the family had was from the tourist trade who visited their mansion each year. When Grandpa is thrown in jail by the revenuers, Tammy hitchhikes with her goat Nanny to BrentWood.
Most of the tale is taken up with fish out of water scenes, but this is the type of comedy that Reynolds excels in. The supporting cast is profitable, with elegant turns by Fay Wray, Mildred Natwick, Sidney Blackmer, Phil Ober, and Mala Powers.
Reynolds especially impresses in a trusty scene at the tourist gathering where she “improvises” a myth about the dress she is wearing and her arrival at the house in the previous century. The viewer really can’t wait on but be charmed by her. She also sings the title song which became a grand recount hit for her. In fact, the film was doing only ordinary business until Reynolds recording began to derive a lot of radio play. Universal-International assign it support into several hundred theaters and drive-ins and made a LOT of money.
“Tammy and the Bachelor” on DVD in widescreen has gargantuan color. Directed by Joseph Pevney with some nice on area photography, it clocks in at a brisk 89 minutes. The disk it is on includes the novel trailer and English SDH and French subtitles. Audiences loved this movie and continue to do so. First week sales of the DVD in stores and online was improbable.
The second and third films in the series are one disk. “Tammy Remark Me Upright” was released in 1961 and starred Ross Hunter discovery Sandra Dee as Tammy. Dee was certainly not the actress that Reynolds was, but she does bring a exquisite charm to the role. The script was by Oscar Brodney (who wrote all of the films), and it was directed by Harry Keller. It was released in a different widescreen process and you will score bigger image on your camouflage with both the movies on this disk. Both films also have the SDH and French subtitle options.
Taking up where “Bachelor” left off, Tammy is with the Brents. Pete has gone off the agriculture college, and Tammy is left waiting at Brentwood. With typical Tyree pluck, she decides she needs to accumulate some education and takes the Effie B shanty boat down the Mississippi River to succor Seminola College as a “special student.”
The Dean of Women, Miss Jenks (played by Virginia Grey, a friend of producer Hunter) recognizes Tammy’s innate humanity and welcomes her to sit in on classes in new events and public speaking. The latter is taught by instructor Tom Freeman. He and Tammy met earlier in the day by a tree in the park.
Tammy is also sent to be a companion to Mrs. Annie Call (Beulah Bondi) . Mrs. Call is a bitter, mean faded woman – as she says herself. Her niece misunderstands Tammy’s background and sends her away. When Tammy sneaks encourage into the backyard and has a heart to heart talk with her, Mrs. Call hatches a thought. She runs away to the Effie B to relive her childhood times of life on the river.
There are complications. Tammy isn’t popular by the others in school, she gets a couple of babysitting jobs, and she is even eventually accused of kidnapping and robbery. Don’t anguish it all works out in the slay.
The supporting cast here is honest as engaging as in the previous film. In addition to Grey and Bondi, we have Gigi Perreau (broken-down child star), Taffy Paul (who would become Stephanie Powers), Charles Drake, Hayden Rorke, Billy Mumy, Edgar Buchanan, and Juanita Moore. We also gaze some familiar exteriors on the Universal backlot including the house that would belong to the Munsters and the exterior of the house that the Kettles won and lived in for several entries in that movie series.
Dee isn’t quite as lucky in the leading man department here. She is stuck with John Gavin, who is more lovely than Leslie Nielson to be definite, but unprejudiced can’t act. The scene where he is to laugh at things Tammy says is so forced, it is embarrassing to gape. He does say the same line that Nielson says to Reynolds: “If I’m laughing at you, it’s with pure delight.” And that isn’t said with mighty conviction either.
No trailer is included with “Tammy Snarl Me Upright”, but it does have the blooming unusual pick up by Percy Faith, one of his few modern film scores. There is a title song that serves the purpose, but the recent by Ray Livingston and Jay Evans is missed. There is no other credit for the itsy-bitsy singing performance, so until otherwise informed, we have to remove the Dee did her bear singing here. This film is the longest of the trio at 97 minutes and is directed by Harry Keller.
The final theatrical feature here is “Tammy and the Doctor” released in 1963 At least we regain a trailer with this film, though it certainly isn’t in very righteous shape.
Dee suffers from a bad choice of leading man here, too. One would mediate that Peter Fonda would be able to hiss some kind of emotion or at least some charisma on the shroud. Here in his debut, he is a zero. His delivery of the line “If I’m laughing, it’s with pure delight” is even worse than Gavin’s. And Dee is getting a bit musty to play the innocent wide eyed Tammy. Producer Hunter must have decided that they had to pick up Tammy out of the attend woods and off the river. So with Bondi recreating her Mrs. Call role and needing heart surgery, she and Tammy are uprooted and transferred to Los Angeles.
As expeditiously as she was taken into college, Tammy is employed by the hospital. She creates several droll incidents, but she is always save abet to mopping floors (this gag wears out its welcome after the fourth time) . She becomes enamored of a young intern (Fonda) and decides she doesn’t adore Tom Warren (Gavin) after all and sets her cap for young Dr. Impress Cheswick. Tammy is nothing if not fickle.
The supporting cast again is valid with MacDonald Carey (shocking as he is), Margaret Lindsey, Alice Pearce (the novel “Bewtiched” Gladys Kravitz), Reginald Owen, and Adam West (impartial before becoming Batman on television) . The loyal treat for trivia and movie fans in the cast is Joan Marshall. Who?? Well as Joan Arless she played the double male/female leading role in “Homicidal.” Here she is a blooming large redhead, and it’s fun to scrutinize her as she really looks. Marshall was also originally cast as Lily Munster, but was replaced by Yvonne DeCarlo for the subsequent series.
Dee sings the new title tune, although I am not clear that is truly her deny. “Tammy and the Doctor” has the ecstatic ending you request. And it is fun. It runs 88 minutes and Keller once again takes the helm.
Of the three films,this is the only one with a singular credit by writer Brodney. The others credit the novel novels by Cid Rickets Sumner (Tammy Out of Time and Tammy Speak Me Honest.) Sumner’s account did not have a Tammy ending, she was murdered by her grandson.
All of the movies in this collection are luscious, if you are in the good mood, or if you honest like the stars. Certainly you can view the progression from modern project, to star vehicle, to assembly line feature making as you go along. It’s a genuine history lesson in how Universal Studios was bustle and the product it was turning out. The only “Tammy” title missing is “Tammy and the Millionaire” which was actually a few episodes of a short-lived television series starring Debbie Watson edited together to execute a awful feature film.
At the vulgar suggested retail impress, you accept a lot of entertainment value. And you honest might laugh a time or two. Tambey – it means “immortal” you know!
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Buy The Legend Of The Shadowless Sword At Amazon!
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Buy The Legend Of The Shadowless Sword At Amazon!
Compare & Purchase The Legend Of The Shadowless Sword at Amazon by clicking here! List Price: —- Amazon Price: $9.99 |
The Legend Of The Shadowless Sword Description:
- Amazon Sales Rank: #10305 in Movie
- Released on: 2009-12-17
- Rating: R (Restricted)
- Running time: 117 minutes
Customer Reviews:
The Killer Babe Stomps on the Killer Blade on this Great South Korean Wuxia Swordplay Adventure!
During the Korean New wave, the country has come out with real phenomenal dramas, horror, and a few swordplay epics. Two of the more successful films of Korean epics are the terrific Period adventure film “Musa the Warrior” and the Wuxia Fantasy Epic “Bichunmoo”. There have also been other attempts to produce a Wuxia epic and most of them are either a hit or a miss. “Shadowless Sword” (aka. Muyeong Geom, retitled “Legend of Shadowless Sword”) is from Kim Yung-jun, the same director of “Bichunmoo”. This film fares a lot better when in regards to screenplay and action sequences compared to Kim`s first Wuxia film. The direction is much more coherent and solid this time. Action Junkies will certainly be entertained with this film, even though it was released 3 years ago in 2005 (despite New Line has invested in this film, it is now only getting a U.S. release?), the film still stands as one of the most entertaining Wuxia epics I’ve seen from South Korea.
10th century Korea, the Balhae Dynasty have all but fallen due to an invasion. Resistance fighters are hard pressed to find a new leader when all members of the Royal family have perished save one; Prince Jeong Hyeon (Seo Jin Lee). To avoid attention, a lone female warrior named Soha (Yoon So-yi, ARAHAN) is dispatched to find the Prince. Unbeknownst to her, the self-exiled Prince has become a dealer of used goods and have no intensions of returning to royalty. To make matters more complicated, the Killer Blade Army led by Gun Hwa-Pyeong (Hyeong Jun-Shin) with his second in command; lovely Mae (Ki-Yong Lee) is also on the trail of the Prince to assassinate him. Soha must convince the wayward prince just how important he is to her country’s fate, awaken his fighting skills and protect him from the Killer Blade army.
While “Bichunmoo” had a more intricate storyline, its script was almost impossible to follow. Kim Yung-jun’s second film has a larger budget and his directorial skills seems to have been honed. “Shadowless Sword” (I prefer to call it by its original title) has a simple storyline and is very predictable. No surprises can be had with this film, the film is actually a chase film; the two leads are being pursued all over while fighting their way back to Balhae. The usual formulas are omnipresent, Soha and Prince Jeong find each other; they bond and learn to care for each other with the usual twists in their past relationship. Its predictability may be somewhat disappointing if one is expecting a more complex script. However, the two leads are well-developed and the film’s pace and style is mesmerizing enough that the film is never dull and boring.
The film’s main draw and its greatest strength will have to its nicely executed swordplay and fight sequences. There are lots of nifty forest battles and a nicely shot underwater fight (although this may require a suspension of disbelief). The encounters between women-warriors Soha and Mae are truly exciting and quite enchanting. Their fights are beautifully shot, well-choreographed and intense. It was no accident that So-yi Yoon was cast as our female heroine after her performance in the action-fantasy “Arahan”. The actress is charismatic, agile and once again proves that she is capable in the film’s physical aspects. Lee Ki-Yong also proves a worthy rival, she is in every way Soha’s equal in martial arts skills. The film has a lot of fights and cool poses; even shurikens are thrown, high-flying Martial Arts are the film’s style of fighting and rivals those seen in some of the best Chinese Wuxia epics. I’ve noticed that Korean filmmakers have started to evolve their own ‘stylized’ blood splattering effects, this time with a lot of “explosive” attitude.
While Yoon So-yi and Lee Ki-yong does undoubtedly steal the show, the main villain, played by Hyeong Jun Shin (Bichunmoo) is an almost identical twin to the villain in “Gingko Bed”. I’m not sure, the actor does a decent job with his character overall, but something about the `eye-liner’ just turns me off. Gun Hwa-Pyeong is more than a one-dimensional villain, his goals and motives are actually one that can generate sympathy but I suppose there are men who can pull off `mascara’ and there are those who can’t. Seo jin Lee does keep the movie moving, his character’s devices to avoid his would-be protector and his assailants manages to add more depth to the film’s simple plot. Also, Prince Jeong’s change in attitude and his past does give some added `meat’ to its plot. The most underused character is Mae, her character has a lot of potential but she seemed underdeveloped. The woman is loyal to Kun but their relationship does leave the reasons to mere assumptions by the audience.
The film also has cleverly paced bits of satire in the first half as our two leads encounter a gang led by a character who looks like the Korean knock-off of “Captain Jack Sparrow” that made me crack up. The interlude where Soha and Prince Jeong encounter a band of bandits who look like `tribute’ characters to “House of Flying Daggers” is a nice touch. The film is focused in its direction and the set designs are also quite good. The costumes are elaborate enough to draw attention and yet, they don`t look too superficial.
A film like “Shadowless Sword” will either shine or fail with its promise of pure action entertainment and on this promise it didn`t falter. The film is loaded with highly stylized martial arts that would definitely more than make up for its faults. The movements are precise and graceful enough while maintaining its hard-hitting intensity. Many would compare it to “Crouching Tiger Hidden Dragon” which would be unfair (personally, I wasn’t really that impressed with that movie). It`s a different film entirely and “Shadowless Sword” does stand on its own. If you want a lot of nicely shot stylized martial arts then this film will not disappoint.
“SHADOWLESS SWORD” is a substantial entry to Korea’s foray into Wuxia/Swordplay adventure. The film is definitely entertaining and enjoyable from beginning to end. The director’s cut clocks in at 2 hours, and the direction is to be commended that it feels like it was a mere 90 minutes. Its abundance in action sequences, bits of humor, eye-candy wirework, the film goes at a pace that exudes pure entertainment that I forgave the perfunctory romance and almost too melodramatic ending.
I’ve said before in my previous review and I’ll say it again: “It’s the Best South Korean Wuxia Swordplay Fantasy Adventure I’ve seen thus far!”…and I’ve seen them all.
Highly Recommended! [4 Stars]
An excellent Korean take on Chinese martial-arts films
“The Legend of the Shadowless Sword” would be considered among the greatest wuxia epics of our time but for one little detail: the world has already experienced the unspeakable brilliance of films like Hero and Crouching Tiger, Hidden Dragon. And make no mistake, this film is Korea’s attempt to duplicate the success of these modern classics both artistically and financially. The result is an almost-great film steeped in female empowerment, classic martial-arts philosophy, and Korean history that only missed classic status by a decade or so.
First off, let me say that the leading ladies of “Shadowless” are amazing. Yun So-i is brilliant as Soha, a female warrior tasked with bringing an exiled prince back home after an organization known as The Killer Blade Army murders the entirety of the royal family, leaving him as the only successor to the throne. Soha and the prince, Jeong-Heyon (played by Lee Seo-jin) who is also quite the fighter, are tracked and ambushed by the Killer Blades led by a seriously vamped-out lady killer. The confrontations between the opposing sword-wielding visions of beauty provide some seriously exciting duels that are on par with the best of the genre.
The heart of the story largely focuses on the classical myth/philosophy of Asian swordplay that each blade has within it an evil spirit that gathers strength as it drinks human blood. This spirit is said to be able to envelope and consume it’s user once it gathers enough strength through death and suffering. This is a fantastic metaphor for the effect taking a life has on a person’s being. What better way to kill one’s own soul than by slaughtering so many as to becomes altogether indifferent to suffering? This is the essence of evil. Soho’s philosophy -bequeathed to her at a young age by a passing hero- is that if the sword is taken up only to protect that which is precious and not to do harm that the shade within will gain no power from the act of killing. Thus, a righteous warrior has a shadowless sword.
The coolest thing about “Shadowless” is arguably the costumes. Every scene features some of the most visually interesting outfits and uniforms I’ve ever seen in this kind of film. Big thumbs up on that. The movie itself looks wonderful and very polished, though many of the scenes feel like retreads of previous wuxia films. There is an interesting underwater battle that could have been brilliant if not for the ridiculous sight of dozens of ninjas sailing over the river throwing hundreds of shurikens into the water for several minutes on end. How many of those things do they keep on them at one time anyways? There are some other over-the-top moments that may make one think of Fist of the North Star and the delayed explosions that resulted from the combat in that classic anime cheesefest. But timed detonations somehow make even less sense when they are inflicted by a sword. What, chopping a guy’s head off or bisecting him at the waist or even vertically isn’t good enough anymore? These are a few of the problems that keep “The Legend of the Shadowless Sword” out of the same league as the modern works of art it emulates. The love story is unconvincing after having seen the incredible beauty of House of Flying Daggers, and the fights -while highly entertaining- are simply not as good as those in “Crouching Tiger”.
In spite of it’s few flaws, I would qualify “The Legend of the Shadowless Sword” as a must-see for fans of martial-arts or Asian cinema in general. This one won’t enjoy the crossover appeal of the movies I name-checked earlier, but it should thoroughly satisfy fans of the wuxia genre. Not perfect, but worthy of being mentioned in the same breath as some of the greats.
Why did they HAVE to change the name? (4 1/2 stars)
Seriously, I just want to know what marketing genius thought adding “The Legend of the” to the title would make it more appealing to the US audience (Drunken Master 2 becomes Legend of the Drunken Master). With the exception of Dragon Dynasty, the now defunct Tartan Asian Extreme, and few smaller companies, US DVD distributors love to toy with these films.
The description lists this film as being in 1.33/1 aspect ratio. Specialty sites have it listed as being in its original 2.35/1 ratio. Let’s hope they’re right. As of this writing, there is no running time listed. If it comes in at anything under 113 minutes, you’ve been had. US distributors like to try and get these films down to under 100 minutes. That is the magic number for our attention spans apparently. The bottom line is that if they keep the aspect ratio proper and don’t hack anything out of it, you’ll be in for a real treat. Here’s my review of the Korean import.
Shadowless Sword is another great entry from Korea, a country that has spent the new millennium really carving out their place in the asian film world. The story is basically just like King Ralph, except Peter O’ Toole has to protect John Goodman from assassins before he can get back to Buckingham Palace and install a bowling alley in the royal bedchamber. Ok, so it’s a little different than that. But it is an ‘escort the VIP’ movie.
SS is from the same director that gave us Bichunoo, another fantastic film. It has a great cast from films like “Guns and Talks” and “Arahan”. SS is a swordplay epic. For the laymen, it would be in the same vein of a Crouching Tiger or a Hero or House of Flying Daggers. Period piece, acrobatic wire-fu, lots of swordplay. And while it may not have the budget, star power, and exposure of the previously mentioned films, it can absolutely hold its own against them.
The acting is spot on. The story, while not anything new, is still very engaging. And the action is certainly well worth the watch. Although not quite as graceful as some of it’s HK counterparts, the wire work is creative and integrated well into the sequences. The visual approach is stylish without being over-the-top. And it does have a great score, too.
Fans of asian swordplay movies would be wise to give this one a look. It doesn’t have the depth of story and character that those looking for something more in the drama category are looking for. And while the action is great, it’s not wild and insane like a Kitamura movie or a Hark film, and certainly not as blood-filled. The action sequences would be considered reserved compared to how those guys work. So if you’re looking for a good, solid swordplay epic that is subtle and understated while being quite entertaining and action-oriented, this would be a fine choice.
Watch Mrs. Brown Movie Online
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Watch Mrs. Brown Movie Online.
Movie Title: Mrs. Brown Mrs. Brown is available for streaming or downloading. |
It is very seldom that I collect to see the movie of this quality. It is absolutely shiny.
This is a sage of a original friendship formed between two very unlike characters: Queen Victoria and her servant Mr. Brown. As the narrative developed I was completely absorbed by the lives of these two people, as if I was actually fraction of it rather then watching the film.
Story is incredibly well told (though I do wish filmmakers were not in such a urge to kill it), cinematography is absolutely glorious and as far as the historical portion of the movie it was perfectly captured. And then there are actors keen in this movie.
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I do not assume that my knowledge of English language will allow me to fully narrate great talent of Judi Dench, which by all means is unmatched by anyone alive today. Her performance was absolutely flawless. Academy should be ashamed for not awarding her with an Oscar and choosing Helen Hunt’s performance over hers. Not even a contest in my belief.
As astonishing as Judi Dench is I’m determined it is very hard to regain costars that will not be completely overshadowed by her. But Billy Connelly filled the cloak with his sparkling performance. Perfect chemistry between the two. And of course – Geoffrey Palmer who happens to be Judi’s long time costar from BBC’s “As Time Goes By” (which I contemplate is one of the best TV comedies of all time) . When you win so caught up in a movie that you forget it’s not a accurate life you know that actors are doing an astounding job.
This is an exceptionally well made film, a fair share of cinematography. And I assume it should be a fraction of any movie-lovers collection. It certainly is piece of mine.
That is the seek information from. Of course, when one thinks of Victoria, the plan of prudishness, conservatism, and a very reserved manner in action and morality naturally approach to mind. It was never modern for monarchs, male or female, to have lovers outside of their marriages (indeed, it might be considered modern for a monarch to have been opinion to have remained faithful), but Victoria? The epitome of a repressive, almost oppresive morality? Surely not.
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Don’t be so clear.
Four years after the death of Prince Albert, to whom Victoria was completely devoted, and for whom she mourned in quite public and dramatic fashion, against the protests of her children and her ministers, John Brown, a favourite ghillie of the royal couple, was brought aid into service of the Queen household.
Victoria’s favouritism toward him, coupled with his contain brash and blunt behaviour, caused him to be envied and disliked by members of her family, her household service, her ministers, and largely by the public. There were parodies of John Brown’s activities, done up in the construct of mock Court Circulars (the official listing of royal engagements), which appeared in the press on both sides of the Atlantic.
It is unknown if Brown actually kept a diary (the movie speculates such, but also states that no diary was ever found) . There was a astronomical dismal trunk of correspondence found after Victoria’s death, between the Queen and her doctor at the time, Profeit, regarding John Brown. This came into the possession of her unique doctor, Reid, who recorded ‘most compromising’ secrets into his green memorandum book. Alas, this book was burned by Reid’s son, and the trunk was not found. Did it refer to a secret marriage between Victoria and John Brown, as was often speculated?
This is, in truth, unlikely — Victoria’s devotion to Albert never waned in her life, and there was a distinct innocence, lack of pretense and guile in Victoria that the more political and suspicious (particularly in the press) would not have known. Both Brown and Victoria were outraged at the rumours. Brown was a servant who build no stock in class divisions and the artificiality of social conventions — his familiarity with the Queen (in fact no different from his order and familiar manner of relating to everyone) was simply his manner.
But then, everyone likes a grand, juicy scandal, don’t they? So distinguished more enthralling than decades of mourning, which makes for rather dead news leaders.
The film takes up the yarn with Brown’s arrival at the royal dwelling on the Isle of Wight (an inaccuracy, as he was presented at Windsor first) . The myth is romantic yet reserved, and the cinematography is handsome. From the cloud-cast home on the Isle of Wight to the stately and foreboding Windsor scenes, to the unspoiled Highlands around Balmoral, this film has had mountainous care infused in the details of costume, setting, and atmosphere.
Judi Dench gives perhaps the greatest performance of her life as the Queen, showing steady emotion through the Victorian reserve in an admirable fashion (for which she was nominated for the Academy Award, and won the Golden Globe, as best actress) . In a really surprising casting, Billy Connolly, best known as a amusing, turns in a first class performance as John Brown, the brash Scotsman who becomes completely devoted to his Queen. Geoffrey Palmer, a solid actor known in many BBC productions, plays the Queen’s private secretary, Sir Henry Ponsonby, who is continually amazed at the liberties taken by Brown (Ponsonby, in reality, saw Brown as a first class servant, and remarked so frequently in correspondence with others) . This film was first proposed as a BBC television production, but ended up being so well performed and executed that it was transferred to become a cinematic release.
Given the high profile scandals of the royal family today, this tale seems almost terrorized. But, history does disclose itself, so one can never be entirely clear, until such time as the royal archives are opened to scholars, perhaps a few centuries from now, and the truth may be known to posterity.
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Ninja Assassin Discount.
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Ninja Assassin Discount.
Compare & Purchase Ninja Assassin at Amazon by clicking here! List Price: —- Amazon Price: $3.99 |
Ninja Assassin Description:
- Amazon Sales Rank: #91 in Movie
- Released on: 2010-03-16
- Rating: R (Restricted)
- Running time: 99 minutes
Customer Reviews:
Turkey isn’t the only thing being carved this Thanksgiving
If you want some extremely bloody ninja action, you’ll get enough for three movies with Ninja Assassin. I can’t think of a film that has as many limbs being cut off or higher body count than this one. Maybe the first Kill Bill flick and that’s really saying something. After reading a lot of reviews from the critics, I expected a horrible story and acting to go along with the carnage, but neither were that bad. I never heard of the lead actor, played by Rain, but he is suppose to be a big singer and martial artist in Asia. His performance was on and off, but his physicality stole the show. I felt the scenes that showed the main character’s training from a young boy to a man at a secret assassin fortress added some depth. That sensei doesn’t mess around!
Even though ninjas prefer to engage in combat in the dark, I like how you can still see what is going on in most of the fights. The many action scenes are the highlights for sure. They are brutal beyond belief, but some of the blood was a little too CGI for my tastes. Still, there were many creative kills using various slice and dice weapons. The opening scene has the most memorable kill, setting the tone for the rest of the film. And how can you not love seeing massive ninja stars being thrown at a machine gun rate of speed?
The story is your typical martial arts fare and the acting ranges from pretty good to mediocre, but you should know better than to watch this for either of those elements. I remember a couple of weeks ago saying how the destruction of the Earth, as seen in the movie 2012, won’t likely be surpassed. Well, I doubt there will ever be another ninja film that throws as much violence, gore and action into just a little over 90 minutes. If there’s a sequel, you can count me in.
For Those of You that Want a Completely Honest Review
1. Are you a fan of the ninja mythos? If yes, continue
2. Do you like awesomely executed choreography and to be Entertained? IF yes, go on
3. Are you one of those people that sit back and watch ALL movies looking to be enlightened on the meaning of life and anything that doesn’t make you think disgust you? If yes, Stop, you don’t belong here. If yes, Continue…
When this movie was being thought up, there was one thing on the mind of the director. “How can I bring back the love of ninjas that I had as a young child?” His answer was to create this movie and update the premise of the ninja with the many cool things that have been done with the genre since the old days of Sho Kosugi’s Revenge of the Ninja. This means, take all of the mythological aspects of the ninja:
Shadow walking (or melding with shadows)
The mind of a Ninja (Classic training Sequences that exist in all Martial Flicks
Wicked Sword play and creative use of weaponry
Agility beyond what normal humans have
Add in a little Ninja Magic and Jutsu
= ENTER NINJA ASSASSIN
As with all great movies and concepts this film excels at one thing in particular, Mixing Genres. Within the first 5 minutes of the story, you will realize that you aren’t dealing with a strict action movie. There is a great blend of Horror, Suspense, Comedy, and down right Awesomeness. As with all action movies there are some things that people consider weak with the plot but lets not get ahead of ourselves. If you go into an action movie looking to see Schindlers List, you will be disappointed. This movie was made strictly to entertain. If it does not do that for you, then you have no blood in your veins or you should go see twilight and look at the debauchery of vampire myth and swoon over the skin of a killer. Seeing Sho Kosugi again after all these years is amazing, and to see that he is still just as awesome as he was in the 80s when I was a child is Inspirational. Everyone does their job in the film acting wise, and After months of training and choreography and turning his body into a killing machine, Rain pulls it all together. I have actually read the script for this movie and there are some things that I hope are included with the blu ray. The ideas that are touched on in the film would make great stories in themselves and I for one hope that this implies that the Ninja Renaissance is upon us. Its been too long.
The only thing you get from this movie is visceral action, classic ninja cinema, and a plot that fits the moment.
A lot of people went into this movie thinking that they were going to go see the next Matrix film, as they do with any film that has the Wachowskis banner on it somewhere. This has lead to a lot of films by them and their protege McTiegue being overlooked. The biggest crime being the bad press that Speed Racer Received even though it was one of the best family movies ever. Buy Ninja Assassin and you will not be disappointed.
3 ½ Stars: Action-Packed, Bloody Good Time!
Co-produced by the Wachowski Brothers (boy, these guys just like Japanese mythos) of the Matrix fame and with a screenplay written by Matthew Sand and J. Michael Straczynski (one of my favorite writers) I knew I just had to give “NINJA ASSASSIN” a look. Being a martial arts action fan, I know what I am talking about when it comes to high-flying action, moody Asian plot elements and mysticism. Director James Mcteigue’s film is a lot of fun and provides some needed action `junk’ for martial arts fans and it is a fair attempt at creating a new martial arts hero.
Raizo (Korean actor Jeong “Rain” Ji-Hoon) is a deadly assassin who was kidnapped as a child to be raised and trained by the Ozunu Ninja Clan that is also known as the Black Sand Clan; the existence of this secret group of assassins is considered to be a myth. Following the execution of his childhood friend by his own clan, Raizo has severed all ties with the Ozunu and goes into hiding. He resurfaces some years later seeking revenge on the clan’s leader (Sho Kosugi) that takes him on a path that crosses with a young Europol agent named Mika (Naomie Harris) who is investigating the money linked to political murders and is in turn linked to the supposed mythic Ozunu Clan. Now, Raizo must confront his former brothers and to finally find redemption for the death of his childhood friend.
The plot in “Ninja Assassin” isn’t very special, it is your usual revenge flick that touches on the themes of redemption, regret and finally fulfillment of one’s destiny. However, what makes it somewhat engaging is the fact that the film has that Japanese flavor and carries enough of the style that made Asian movies successful in the martial arts genre. The screenplay gives some good characterization in the part of the lead character and focuses on his development as young student and finally a man. Raizo’s past is shown in the form of flashbacks, and writers Michael Sand and J. Michael Straczynski (he rewrote the script) manages to make a compelling character out of Raizo. From childhood, he has been tortured both mentally and physically by Lord Ozunu (nicely portrayed by Sho Kosugi) that proved to be his own rite of passage. His friendship with Kiriko (Kylie Goldstein) proves to be anchor within the walls of the Ozunu and his rivalry with another student Takeshi (Rick Yune) for the leadership of the clan proved to be his goal at first. Things change, and the script brings the exposition that the right woman can indeed change a man for the better, this is indeed a fact.
Alright, one isn’t exactly here for an inventive plot, martial arts action films usually soar because of the exciting fights and outrageous stunts; in this regard “Ninja Assassin” doesn’t disappoint. Actor Jeong Ji-Hoon does have the charisma of a young ninja warrior and he does move gracefully during the fights. The film is full of style and very cool macho posturing; this is after all, still a Hollywood flick so count on the usual extreme close-ups, tricks with CGI, and a lot of zooming in and outs that take us right in the middle of the action. The fight choreography is very good, and looks very spiffy. It is cool but Hollywood didn’t know when to stop and the scenes do become rather bombastic at times, that it came dangerously close to becoming “cartoonish”. Ninja’s are assassins that rely on stealth and the shadows to get to their objective, while the film does have those qualities, it doesn’t feel any different than other martial arts films done by Hollywood. This movie would have done better with a more restrained style, but it does have its moments. The fights are long and very bloody; I liked the fights that occurred in the police safe house and the final fight with Sho Kosugi proved very exciting. It was such a thrill to see an older Kosugi show that he still has the stuff.
The film also has a significant amount of gore and loads of blood. I was happy to see the gore and massive amounts of blood but after awhile the CGI blood effects started to wear thin. I know the effects are probably done in a manner to pay homage to Japanese arterial sprays effects but it would’ve been better if it used the old-fashioned red-ink. The film also uses some prosthetics enhanced with the CGI blood, the results are a little uneven as the quality of the effects swing from good to just plain unnecessary.
“Ninja Assassin” has a fair share of supporting characters and while they did manage to get things going for Raizo, I am rather undecided whether they were necessary or not. Sure, Mika had her moments and actress Naomie Harris is nice to look at, but what is up with sidekicks? Hollywood still has little faith on the lead character to pull it off. Her superior Maslow (played by Ben Miles) provides some humor but this is where the dialogue resorts to becoming too obligatory, and the supporting characters do get in the way of the action.
“Ninja Assassin” is a fun action movie to watch. Despite its flaws, I enjoyed the way the fights were spaced out and if one is looking for balls-to-walls action then this film will not disappoint. Sometimes, we need a fun martial arts film and “Ninja Assassin” may just fulfill the needs of the action junkie. The CGI blood effects may prove to be a tad excessive at times, that I was a little turned off but I managed to look past it because the screenplay does manage to make Raizo an interesting character. The film would have been better if it avoided the stereotypical sidekick affair and instead focused on the conflict between Raizo and Lord Ozunu, but hey, this is a Hollywood flick, so if you want real authentic ninja mood and action, turn your eyes to Japan.
Recommended! [3 ½ Stars]
Bringing Down The House Movie Streaming
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Bringing Down The House Movie Streaming.
Movie Title: Bringing Down The House Bringing Down The House is available for streaming or downloading. |
Steve Martin and Queen Latifah lead a incredible cast in this surprisingly unpleasant, always delightful, laugh-out-loud comedy.
Peter Sanderson (Martin) is a divorcee who spends some of his personal time in a factual chat room, flirting with a woman he hasn’t seen. His interest in her grows into a puny infatuation after she sends a record of herself via email. But when the two meet, he gets a stout surprise. She’s not the woman in the picture; at least not the woman seen up halt in the recount. It turns out that she is an African American woman named Charlene Morton (Latifah), a criminal on parole who is seen getting arrested in the background of the relate she has sent. Slowly, Charlene begins to grasp over Peter’s life, but perhaps that’s a superb thing. Despite his divorce, he and his ex-wife Kate (Jean Gleaming), serene have feelings for each other. Having divorced because of his excessive work habits, Charlene tries to train Peter the joys of life and how to bask in the importance of his neglected family.
Veteran actresses Betty White and Joan Plowright are downright hilarious in their little roles, and Eugene Levy has an comical role as Martin’s best friend, who begins to plunge head over heels for Charlene, further complicating matters.
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Betty White is painfully comical and grisly as Martin’s elderly neighbor. She is as racist as they near, jabbering cruel lines of racist dialogue (a less curious but more offensive send-up of her “Lake Placid” role) . Don’t hold her comments to heart, though. The film is unprejudiced trying to demonstrate how biggoted some people can be. (It’s a shame how people like her actually exist.) Joan Plowright portrays a heiress client of Martin. She proves to be a stout comedic actress, especially in the hilarious climactic nightclub scene.
Missi Pyle is extraordinary as Kate’s sister, a sort of Anna Nicole Smith type who takes pleasure out of dating older men. I could never have imagined Pyle in such a role, but she’s broad! Even Jean Intellectual is perfect for her role as the ex. Her Southern accent really gives her added sex appeal.
This is a predictable film, but it is also one of the funniest films to approach out in the past year. It is a simple, gleaming, and fun comedy that’s a pure joy to see. Clever dialogue, touching moments, and a huge cast are a plus. Martin and Latifah (so quick-witted in Chicago) exhibit off their improbable comedic talents and have wonderful chemistry together. The film is a bit raunchy at times, but oh so amusing…recommended for a apt hearty laugh!!!!
I adore going to a movie where the audience laughs during the entire movie (intentionally, that is) . I wasn’t expected to have so distinguished fun during this movie but it proved to be a laugh riot. Steve Martin and Queen Latifah beget a stout comedy team . The supporting actors only add to the fun. Betty White as Martin’s racists/homophobic neighgbor, Joan Plowright as a rigid heiress that Martin needs to bring as a client to his law firm, and Eugene Levy is hilarious as Steve Martin’s best friend at the law firm, who makes no qualms about his feelings for Latifah’s Charlene. The fight scene between Latifah and actress Missi Pyle is worth the admission alone. I recommended this film to a friend at work who later told me that she and her husband thoroughly enjoyed it. I’m betting you will too. Its a gargantuan film to win a group of friends to and unbiased laugh and be laughable.
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Watch In the Good Old Summertime Movie Online
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Watch In the Good Old Summertime Movie Online.
Movie Title: In the Good Old Summertime In the Good Old Summertime is available for streaming or downloading. |
This year 2004 marks the first appearance of this titanic Judy Garland film (one of her last for MGM) on DVD. This film is based upon an earlier James Stewart film THE SHOP AROUND THE CORNER and was recently remade as YOU’VE GOT MAIL. This fresh restored print is an improvement over the previous VHS release. The portray has been cleaned up and colors discover brighter and bolder than ever before, as we inquire with 3-strip Technicolor, though there are composed a FEW age related artifacts demonstrate, but I am forgiving enough to peruse beyond this. In general, the modern transfer is radiant. The soundtrack sounds equally as impressive and has been cleaned up very nicely for this release.
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Included on the disc are trailers for this film, THE SHOP AROUND THE CORNER, and YOU’VE GOT MAIL. I really don’t know why the latter was included here, it lends nothing whatsoever to this release, and practically everyone in the country has seen it by now. There are no other “extras” to snarl of. We wish that the deleted musical number, “Last Night When We Were Young,” sung by Judy Garland, had been included as a bonus on this disc. Both the footage and soundtrack for this number survive, and it was included in the Outtakes fragment of the fourth disc of the original That’s Entertainment 4-disc boxed station, released this past October. Why wasn’t it included here?
On the whole, this is a very commendable release from Warner Home Video, but if you unexcited have the VHS tape there’s no sincere special reason to hasten out and lift the DVD.
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Look for an 18 month conventional Liza Minnelli during the closing scenes, making her film debut.
Despite this charming film’s misleading title the majority of the yarn takes situation in winter in the lead up to the Christmas season. It does however feature one of Judy Garland’s best later performances made in an all to rare trauma free moment in the unhurried 1940′s for this legendary actress/singer when her health problems were affecting her ability to do before the camera. Amazingly none of that is evident in “In the Reliable Worn Summertime”, which finds her delivering a wonderfully controlled and at times wistful performance as a young employee of a music store in turn of the century Chicago who is having a romantic letter correspondance with a penpal who addresses himself simply as “dear friend”. Given its setting of a music shop “In the Generous Weak Summertime”, also offers Judy Garland a number of opportunities to note some glorious musical interludes in her unusual style.
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It was a stroke of genius by MGM to determine to remake as a musical it’s earlier 1940 classic “The Shop Around the Corner” which starred James Stewart and another highly strung female performer in Margaret Sullavan. The results here are almost as effective as in the earlier film and Garland and Van Johnson perform a appetizing camouflage team. Based on the play “The Shop Around the Corner “, by Miklos Laszlo, the action this time has been moved from explain day Budapest to turn of the century Chicago. Indeed this comely film bares a strong resemblance to Garland’s earlier classic “Meet Me in St. Louis”,and here the atmosphere is objective as rich where the action centres around Oberkugen’s Music Store hurry by the memorable Otto Oberkugan (S.Z.Sakall), and his colourful group of employees in the store. Chief among them is Andrew Larkin (Van Johnson) who is a promising store clerk. Andrew however has a very prickly relationship with novel employee Veronica Fisher (Garland) and both seem to always salvage something to disagree about. However what both dont realise is that the romances they are respectively enjoying via the mail out of work hours and which have progressed from “lustrous topics” to exact treasure, are actually with each other! As the pen pal letter exchange deepens into admire it is agreed that the two will meet. Andrew however sees Veronica already waiting in the restaurant and in his disappointment decides not to go in. Thinking about it longer and realising Veronica is his pen pal Andrew decides to give her a hard time about it and in a laughable location enters the restaurant and engages her in conversation considerable to Veronica’s consternation as she believes her “date”, will be due to turn up at any dinky. Assist at the store however things slowly open to thaw between the two and when Andrew gets into deep inconvenience with Mr. Oberkugan for lending his prize violin to friend Louise (Marcia Van Dyke), for an audition he finds himself fired. The staff rally around him and its up to Otto’s long suffering secretary Nellie (Spring Byington) and Veronica to execute him notice the error of his ways. Otto relents for his behaviour and Andrew is made the unusual manager however Veronica decides she must be the one to leave and its only during a romantic interlude alone in the darkened shop on Christmas Eve that Andrew reveals his precise treasure for her. Veronica also confesses her deep adore for her weak antagonist and the scene cuts away to the couple in a warm summer setting happily married and with a fine young two year ragged daughter (Liza Minneli) .
“In The Great Customary Summertime”, boasts many memorable musical numbers including the title song, “I Don’t Care”, “Assign Your Arms Around Me Honey”, the laughable “Play The Barbershop Chord”, and my personal favourite “Merry Christmas”. In all of these numbers apart from her blooming singing style Judy Garland proves what an exceptional talent she was in comedy, pantomine and more energic pieces such as the barbershop number. Here is a talented actress in the chunky bloom of her capabilities who was unfortunately honest about to exit the musical movie stage for quite some time. The supporting cast is exceptional with such radiant amusing talents as S.Z. Sakall and Spring Byington providing the top level assist that they delivered in film after film in this period. Some rarities also pop up in “In The Satisfactory Ragged Summertime”, as we search for feeble Buster Keaton play Otto’s brow beaten nephew to handsome attain in his last MGM appearance and in the final scene reality and movie fantasy despicable as Judy Garland’s genuine life daughter Liza Minnelli plays her and Johnson’s movie child in the last scene. Calm star Anna Q. Nilsson also has a dinky section as a woman buying one of the infuriating harps that reoccur in the fable. MGM talent is abundantly on prove in all departments here. The director Robert Z. Leonard who helmed the classic “Maytime”, for MGM, was only brought in after Garland nixed plans by the studio to give the assignment to her husband Vincente Minnelli as the pair were having difficulties at the time. The choreography is top rate and was handled by Robert Alton who was responsible for the innovative dance numbers in Garland’s previous film “Easter Parade”. Cedric Gibbons’ handsome work in site form also deserves mention for giving the film its graceful appearance and period flavour.
After this distress Judy Garland sadly went into a steep decline health wise and after completing only one more film “Summer Stock”, and being released from an aborted attempt to film “Royal Wedding “, with Fred Astaire her MGM contract was terminated. None of this sadness is evident in “In The Beneficial Ragged Summertime”, thankfully and what we have here is a movie with lovely technicolour, many splendid musical numbers delivered by Garland and a amusing, and touching anecdote area against a radiant “MGM”, Christmas. Luxuriate In Judy Garland at the top of her talents in MGM’s “In The Beneficial Veteran Summertime”.
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Dan in Real Life Streaming
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Dan in Real Life Streaming.
Movie Title: Dan in Real Life Dan in Real Life is available for streaming or downloading. |
Anyone who actually believes that fancy is a many splendored may not rep their money’s worth from “Dan in Valid Life.” Here’s a film that shows fair how unexpected, unusual, and confusing cherish can be, both in terms of family and romantic interests. There’s intelligence to this legend that’s equally laughable and heartbreaking, proving once and for all that fancy is difficult to receive and even more difficult beget. At times, it’s also difficult to reply, especially if it’s being kept a secret. The greatest peril of all is letting go of appreciate, to witness that the past is the past and to know when to disappear on. All this is explored in “Dan in Sincere Life,” a shimmering, witty, and touching romantic comedy that doesn’t lose itself to an overabundance of clichés. The formulaic elements are there, but they’re presented in a unique plan, and they’re feeble in a account that can actually relieve them. They’re not primitive simply because we seek information from them to be.
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The space focuses on Dan Burns (Steve Carell), a widowed advice columnist living in Modern Jersey with his three daughters. They all drive to Rhode Island for an annual family reunion, and its there that Dan meets Marie (Juliette Binoche), a good-natured woman who has traveled the world and seen many sights. Their romance comes to a end when Dan discovers that Marie is dating his brother, Mitch (Dane Cook) . Dan spends the rest of the film struggling with his feelings, unwilling to let Marie go yet unable to be unprejudiced with his family, who he can’t seem to connect with.
As simple as this area sounds, a number of attractive, view provoking elements liven things up. One of the most arresting is the relationship between Dan and his daughters. The two oldest are typical in that they loathe Dan: seventeen-year-old Jane (Alison Pill) is desperate to gawk the world, and a astronomical scheme to inaugurate would be to finally learn how to drive; fifteen-year-old Cara (Brittany Robertson) believes that she’s deeply in like with a boy from school, and she openly despises her father for not letting that savor invent. At one point, she screams that he’s a murderer of esteem. Dan tries to rationalize the situation–Cara has only known the boy for three days, and it’s impossible to know whether or not you’re in admire so fleet. Eventually, Dan begins to analyze his treasure for Marie, who he had only met three days earlier. His youngest daughter, Lilly (Marlene Lawston), is the least hostile, despite not conception why her father behaves the map he does. As his savor for Marie deepens, he loses track of Lilly, and he ultimately hurts her feelings by neglecting to read a special book she made for him.
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Another necessary element is the relationship between Dan and his immediate family; because he makes himself so distant, they witness at him more with danger than with treasure. Some feel that he needs to finally let go of his dumb wife–his parents (John Mahoney and Dianne Wiest) place him on a blind date with an archaic family acquaintance (Emily Blunt), hoping that he’ll finally have some fun. This suits his brother, Clay (Norbert Leo Butz), fair stunning, since he feels that Dan should “uncork” himself. The pressure they’re putting on Dan is unmistakable, as is the fact that their actions are well intentioned but completely unnecessary. This is probably why he attempts to buy his nieces and nephews, even when they fabricate it obvious that they don’t want to be engaged.
But the relationship between Dan and Marie is the most essential element. It all boils down to the fact that two savor struck people are under the same roof, unable to point to their feelings for each other. How long can this go on? Will anyone explore? Will either of them be able to reach tidy? These are the questions we score ourselves asking as the film progresses, not only because the fable is enthralling, but also because we eventually realize that Dan is not following the advice in his maintain written columns. Dan himself realizes this when his articles are considered for syndication in a major newspaper–he has become a hypocrite, someone so blindsided by appreciate that he didn’t assume about who might regain pain by it.
Is it normal for appreciate to be this emotionally exhausting? I don’t reflect I’m the proper person to retort that put a question to, which is probably unbiased as well; a recommendation for “Dan in Sincere Life” doesn’t depend so mighty on what I believe, but on the mindset you bring to the theater. This classic Boy Meet Girl record is told in a non-traditional method, relying more on ample emotional development than on a formulaic structure. Although it allows for the film’s one weakness–an abrupt ending–the emotional development unexcited does wonders for the account, preventing it from becoming a bland, meaningless romantic comedy. It helps that all of the characters are believable, especially Dan; as he comes to terms with the ups and downs of life, our possess humanity is reaffirmed. This alone makes “Dan in Steady Life” a heartfelt, comic, and thoroughly exquisite film.
A tired formula gets a shot in the arm by affecting performances in this quaint puny film that will touch you.
I have grown to really relish the acting talent of Steve Carell who really can carry a film. Carell darn come stole the exhibit in Bruce Almighty to the point where the funniest segments were crop from the theatrical release because he upstaged Carrey so worthy, but those scenes where fortunately made available on the DVD release. Carell was again the saving grace of Evan Almighty and The 40-Year-Old Virgin in which both most likely would have died unnoticed had it not been for his genuine performances. This comedian definitely knows how to act. Carell reminds me of the legendary Dick Van Dyke when he had serious roles or moments and Bob Newhart’s dry comedic delivery. It all objective seems so effortless on Carell’s piece.
In another affecting performance we have Carell as a widower raising three daughters alone and giving his tidbits of wisdom on doing so in a local column titled “Dan in Loyal Life.” Even though his wife has died four years ago, he has yet to really travel beyond that in the diagram of a relationship. He has focused all his attention of his children and while that is admirable, a parent is level-headed allowed to gaze out for himself too. He has not and the annual descend slip to his parents’ cabin plays out all too realistically with everyone pushing him to accumulate someone and he does.
He bumps into a pretty woman in town that he’s immediately drawn to. She is played by the ever glowing Oscar winning actress Juliette Binoche, the only reason to peep The English Patient and one who makes turning 43 seem really frosty and shipshape. In the hands of any other actress this role would have been blown out of fraction, but in the subtle hands of Binoche, it is a exquisite and balanced performance. Unfortunately, this terrific woman who seems perfect for him is, in reality, his brother’s latest flame that he’s brought down to the family cabin to meet everyone for the first time because “this one is different.”
Sadly, the effects of this are handled considerable like a TV-movie or a salubrious episode of that venerable series “Adore Boat”, or any other sitcom for that matter. What makes this film ultimately rise above that is admirable work done by the leads. These are seriously understated performances that are quite touching, believable and memorable in spite of a seriously flawed script at times.
Some of the humor in this film is both lame and predictable, but the execution is always dreary on. Again, the performances are the key to this tired formula of the awkward romance. I guess this film is a grand example of style over substance. Will this set this movie for everyone, no, but I assume most might like this film. I doubt many will care for it or even remember it noteworthy after seeing it, but it’s a nice experience in spite of it’s definite weaknesses.
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Essential Art House: Gervaise Movie Streaming
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Essential Art House: Gervaise Movie Streaming.
Movie Title: Essential Art House: Gervaise Essential Art House: Gervaise is available for streaming or downloading. Click Here to Stream or Download Essential Art House: Gervaise |
Rene Clement’s Gervaise is an adaptation of Emile Zola’s L’assommoir, published in 1877. Zola began, between 1971 and 1893, the long series called Les Rougon Macquart, the natural and social history of a family under the Second Empire of Napoleon III. In these novels, Zola denounced through the long history of a degenerate family, the importance of heredity, basing psychology on physiology. Gervaise Macquart is the heroine in one of these novels, L’Assommoir (1877), which examines the milieu of the working class, and the plague which is alcoholism. The series eventually comprised twenty volumes, ranging in subject from the world of peasants and workers to that of the imperial court. Zola’s reach to writing novels consisted in adjusting scientific principles in the process of observing society and interpreting it in fiction, thus becoming itself a fraction of the scientific research. The results are carefully crafted novels, resulting in a combination of dramatic and lawful portrayals. In his treatise, Le Roman Experimental (1880), Zola manifested his faith in science and his acceptance of scientific determinism.
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However, Clement did not simply condense this monumental current into a one and one-half hour film, which in the process would have only betrayed Zola’s masterpiece. He made a point of preserving in their integrity clear admirable scenes, such as the brawl at the central laundry, Gervaise’s dinner party, or the dreadful episode of Coupeau’s delirium tremens. In short, Rene Clement, while scrupulously respecting the work of Emile Zola, succeeded in making a film centered on one character, Gervaise, a poignant and astonishing represent of that period. Clement’s choice resulted in L’Assommoir, the original, becoming Gervaise, the film.
Obviously, Rene Clement was intimate with Zola’s work. In this film, he follows Zola’s naturalistic near, which at the limit becomes a stylized realism, a vision whose blackness takes on legend proportions. Clement represents very genuine emotions until they are reduced almost to abstractions. The result of such representation would seem to be the very opposite of realism and of naturalism. But his cruelty, which carries him until the ruin of a particular position, sometimes even too far, merges with Zola’s exacerbation of the plot (although Zola’s clinical details are mixed with a resonant lyricism) . With Clement, we do not extinguish up with caricatures but with an authentic naturalism, which although refined is not less cruel.
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Rene Clement achieved his aims by a meticulous research of the French historical period from about 1850 until 1870, a black period indeed. Together with Jean Aurenche and Pierre Bost, the other two script-writers, his research showed that the abominable truths denounced by Zola were unruffled understated. Clement strove to execute the splendid atmosphere by researching paintings and engravings of the time. His representation of the Paris workers’ fraction known as La goutte d’or, in the northeastern allotment of Paris, is done in the most realistic fashion, at least from what we now imagine it to have been through the era’s literature, history, and chronicles.
A first-class group of actors was assembled to breathe life into Zola’s words. Maria Schell, an accomplished actress with more than eighty films on her resume, received the Volpi Cup for best actress in 1956 for her interpretation in the role of Gervaise. Francois Perier (1919 – 2002), who received the 1956 Best Foreign Actor Prize from BAFTA for his role in this film, Armand Mestral (1917 – 2000), and Susy Delair, all classical and versatile actors, belonged to a shrimp group of actors who literally monopolized the French screens in the 1940s and 1950s. Francois Périer’s career extended more than seventy years until his last film in 2002. Armand Mestral, also known as a approved singer, appeared in about sixty films, starting in the mid-1940s. Susy Delair, whose film career started in the early 1930s, was very favorite until she retired in the 1980s.
Rene Clement shows his virtuosity in the cutting and editing of his work. The linkages, which give his film its fabulous wholeness of get and its fluidity, seem perfectly simple, but are actually the subtle results of an expert’s work. The dissolves, when not passing directly from one scene to the next, are almost seamless, and most often they are accompanied by advise over comments. Clement exploits the lighting changes to reinforce the account. Many sequences initiate with a positive, pale luminosity, ending in a night-time. This, in fact, gives a kind of symbolic lighting to the film.
The camera motions are primarily tracking-pan shots, with the camera constantly following the actors in occasionally long, or sometimes infinitely short, motions, but always arresting. In opposition to the flexibility of these many displacements, long motionless shots reinforce the main dramatic scenes. There are numerous series of close-ups, which befriend either to emphasizing the psychology of the characters, or because the overall composition of a shot has a dependable psychological significance.
Much of the dialogue is taken verbatim from Zola’s recent. Discrete commentaries in state over by Gervaise link positive scenes and remind us that L’Assommoir has become the history of this woman. Shrimp by diminutive, Gervaise’s commentaries diminish in frequency with the film progression, as she becomes more and more tired and despondent, eventually disappearing completely, replaced by the sound effects.
The music is by the notorious classical composer George Auric, a member of le Groupe des Six (Darius Milhaud, Arthur Honegger, Germaine Tailleferre, Francis Poulenc, Louis Durey, and Geaorge Auric) . Clement’s choice of Auric to write the music for this film was not arbitrary. The credo of the “Six” was a music based in everyday life, on obscene spectacles (circuses, fairs. music halls, street songs), to confront us with the “steady life.” Auric’s music is discreet and archaic sparingly. The poet and writer Raymond Queneau, one of the founders of the surrealist movement, wrote the words of the Song of Gervaise, which includes in a symbolic invent all of Gervaise’s psychology.
At the time Zola wrote the current, he was strongly criticized for using such considerable material, as well as for presenting opinions of the lower classes. Gervaise is above all an historical document of the life in the middle 1850s, in the working class milieu in Paris. The daily, unbearable workers’ conditions are remarkably well-portrayed in this film, without editorial comments. In those days, a work-day for a man, woman, and child was 15-18 hours; strikes were practically unknown and when one happened, it was violently repressed and their leaders severely punished. There were no social security or retirement plans, and aging without children to aid in aged age was literally an early death sentence. The salaries were extremely outrageous, and an accident or a sickness would irremediably throw a family into dire, abject poverty. There was no escaping from this reality. The only create of entertainment other than an occasional visit to a Caf’conc (Cafe Concert), a kind of musical demonstrate, was l’assommoir (a bludgeon), the term for a low-class tavern, where men and women were easy prey to alcoholism. Clément shows us the irremediable descent of Coupeau into the alcoholic hell, and all the consequences to his loved ones. Soon after, Gervaise will follow.
Rene Clement tells us the sage of Gervaise, a woman subjugated by the men she loved, captive of society, her social background, and social condition, who tries to run her proletariat region. But external and internal conditions frame our lives, against which our will has no control, and Gervaise’s revolt against her condition, her desire to believe her contain shop, rising above her set, may have also brought her downfall. A Hindu person would say the she violated her dharma. But who knows? Maybe she would have ended up in the same space, but at least she got the satisfaction of having chosen her possess instrument of torture.
One of the three notable men in Gervaise’s life is Goujet, and with him Clement introduces a sub-theme–a political one. The 1850s saw the democratic ideals of the first French revolution of 1789 logically progressing toward a budding Socialism, coming in as a reaction against the unusual slavery of the industrial revolution, Capitalism. Goujet, the blacksmith, represents the ideal socialist revolutionary, a hard-working, objective laborer, fair asking for justice and his deserved situation “at the table.” He is ready to sacrifice himself for the back of a better life not only for himself, but also for his fellow workers.
Rene Clement’s adaptation of Emile Zola’s original L’Assommoir is widely regarded as one of his best films and it is unquestionably one of his most poignant and intense works. Although you may encounter some difficulties in getting your hands on this video, your efforts will certainly be rewarded
I was only 12 years conventional when I saw this film in 1957 in Recent Zealand and at that tender age rated it as one of the very best films that I had ever seen.Seeing it on television several times in current years has not diminished my feelings in calling this an unforgettable masterpiece.This is one of those rare classics that tranquil lingers in the mind fifty years later.
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