Simone is an actress who becomes a superstar in a short time but she's a totally fake person. So, what's the difference with many real-life actresses? Well, Simone is actually a virtual person created by a very sophisticated computer program. Viktor Taransky is a director who's facing a huge crisis after his whimsical star quits his movie but a fan of his who happens to be an informatic genius dies and leaves him an amazing computer program as a legacy and Taransky discovers that this program can create a perfect virtual person with the features he wants so he makes Simone, the perfect actress who never complains about anything on the set or about her accomodations and gives flawless performances. Unfortunately for Taranski, Simone is so successful that he starts living in her shadow so he decides to delete her only to be charged with her murder.
This comedy contains an intelligent criticism of movie industry with celebrities who pretend they are what they're not following their PR consultants' advice just to have more appeal but also with fans who blindly believe anything their idols say and don't go beyond their appearance because they prefer a nice lie to an unpleasant truth.
The DVD also contains some interesting extras about the creation of Simone and deleted scene.
A worthy production but falls short compared to The Fellowship of the Ring.
Peter Jacksons 2nd epic, expanded and extended from its cinematic release (to a bottom-numbing three and a half hours) which includes some great extras and menus. Content wise I felt this film added too much to the original book storyline that was unnecessary even for cinematic purposes. It also had the knock on effect of having to deal with the consequences of these alterations in the later film, The Return of the King.
However all is not lost as this version does include some nice extended sequences with the Ents and some other bits which make it more bare-able than the cinematic release. A worthy addition should you want to buy the full set and certainly better than the 2 disc edition.
I love this movie. It's got good acting especially Hugh, David, Richard and Kevin, good special effects and good everything.
I wish there was a Van Helsing 2 as the first one was truly good. Also, the movie could have been much longer like another half an hour.
Watch this as soon as you can. Other movies in this genre could be Jaws, King Kong and The Mummy as they are all horror.
Good movie and funny for all.
Maverick directors Danny & Oxide Pang (who helmed modern horror classic 'The Eye'), genre savvy producers Sam Raimi & Robert Tapert (who bankrolled 'American Gothic') and screenwriter Mark Wheaton (who co-wrote 'Pitch Black') join forces for 'The Messengers': A light, somewhat over familiar but nonetheless entertaining and well-paced horror, which also marks the English directorial debut of Asia's Pang brothers. 'The Messengers' sees an urbanite family move to the countryside for a quieter life, needless to say, its not long before they're being haunted by sinister spirits in their isolated, rundown farmhouse which, as any discerning horror buff would know, is, and always will be, a hotbed of paranormal activity. Parents Dylan McDermott and Penelope Ann Miller seem oblivious to the quartet of vaporous apparitions going bump in the night (and day) so its up to surly teen Jess (Kirsten Stewart) and younger brother Ben who, conveniently, and not unlike his spooky brethren from 'The Sixth Sense' and 'A Stir Of Echoes' can communicate with the dead; to find out what's going on.
Bearing the welts & bruises of studio meddling, 'The Messengers' isn't nearly as good as the off-screen talent involved, and often feels compelled to employ every horror movie cliché in the book as a means with which to compensate for its run-of-the-mill narrative / unspectacular plot twists. And yet in spite of all this, it's the Pang's visual ingenuity (as seen in 'The Eye') which makes it worth watching: Hitchcockian overhead shots of barn ceilings, undefined creatures scuttling in the shadows, sudden sound effects and smash cuts coupled with a perennial sense of dread / foreboding attached to otherwise trivial occurrences, everyday items and mundane tasks. Newcomer Kirsten Stewart gives a naturalistic, believable performance as our troubled heroine Jess, Stewart makes the most of an archetypal teen role; one that could've been played on autopilot by any number of L.A. starlets, and in her strongest scenes; reminded me of a young Winona Ryder. A memorable calling card from the Pangs; an average American horror boosted by good cinematography, subtle performances and suspenseful mis-en-scene: Here's hoping Hollywood got the message.
For anyone who can appreciate the beauty of film art, the 'Work of Director' series is a must have. This installment sees a wonderful insight into the director of 'One Hour Photo' (2002). Romanek is a passionate and inventive filmmaker, described as a "perfectionist" by those who have worked with. him. In this everything is shown from the lavish set design of Lenny Kravitz's 'Are You Gonna Go My Way' video to the gritty suburban styling of Jay Z's '99 Problems' video or, as Romanek calls them, Music Films.
The insight into the workings of such an intelligent and passionate man is one that is invaluable, especially to any budding filmmakers out there. The beauty and passion that is portrayed in these films is such that can only be appreciated in the full quality that the DVD offers.
Other volumes that are a must-own are the Chris Cunningham, Spike Jonze and Michel Gondry versions of the same series.
Some of the best work available from the medium of music videos can be found from this man, which leaves no other reason required for the purchase of said DVD.
This film is a lacerating assault on the American propaganda machine following the second flag raising at the Battle of Iwo Jima. Director Clint Eastwood follows the plight of the three surviving men in the famous photograph recreated for this film's DVD cover. Rene Gagnon, Doc Bradley, and Ira Hayes, stunningly played by Jesse Bradford, Ryan Phillippe, and Adam Beach, respectively, all use the photo as a ticket out of combat, but end up as show horses trotted around the country by the United States government to drum up support for the flailing war. These men who seemingly lucked into their newfound celebrity status as war bond salesmen become worse off in the process. Eastwood's film is unflinching in its almost complete destruction of the mythic idea that World War II was somehow immune from the misleading nature that has plagued times of war throughout history. It's a bold statement, made more so by the current political climate and Eastwood's status as a revered icon of film. If you thought there was nothing left to say about World War II or war on film, Flags of Our Fathers proves otherwise.
All of the Simpsoms season boxsets are absouloutely brilliant and this is no exception.
After the United States of America, world poverty and inheritance tax the greatest evil on this tragic planet of ours must be the dubbing of foreign films into English. The mindless obliteration of the original German soundtrack on Stalingrad not only detracts from the authenticity of the original non-English production but presupposes the viewer is so lazy they are unable to read and watch at the same time. Moreover, it results in a noticeable clash between the visual sensations crafted by actors on a tangible set and the audio accompaniments by some foreigner in a warm studio.
Perhaps Stalingrad would have been a more enjoyable film had a version in German been available. However, its more likely that the dubbing is the just the cherry on top of a cake of poor acting and an overly melancholic screenplay. Just because Das Boot capably captures a claustrophobic form of warfare rarely explored in popular cinema, it does not mean that all German war films are insightful. Stalingrad"s insistence on tugging at the favourite clichés of the war film genre plainly proves this rule. War may indeed drive the respectable citizen to psychopathic inhumanity but if a director is unable to offer a fresh perspective they should leave the depictions to abler artists.
The actual battle on the frontlines of Stalingrad saw bloody sacrifice on cataclysmic levels and yet the filmed scenes of conflict are minimal in quantitative terms and then contrived to the point of viewer scepticism. Consequently, characterisation is rendered impossible. If the director is intentionally stating how the never-ending Russian winter left one doomed soldier of the Wehrmacht indistinguishable from another then he was foolish to attempt such an angle with a thinly-developed screenplay burdened by stilted dialogue.
War is bad; if Stalingrad is believed it"s also laughable.
Set in the context of bloody German defeats in the latter part of the Second World War, Marc Rothemund"s film details the life of Sophie and Hans Scholl"s from the clandestine distribution of anti-Hitler pamphlets to their capture by collaborators of National Socialism. Utilising historical documents and personal accounts of actual events, the themes of courage, personal integrity and hope echo throughout and beyond the film"s 117 minutes.
Starring as the 21-year old Sophie, Julia Jentsch conveys a complex member of the White Rose resistance movement who possess such despair at the devastation of Germany"s people that she is prepared to risk her own future in urging people to question Hitler's war-conduct. And yet she does not seek for martyrdom; trips to the North Sea with her fiancée are described with the devotion and love of a young woman who is hopeful of a freedom and justice in a post-Nazi Germany.
Sophie Scholl especially comes to life in the lengthy interrogation scenes as the camera cuts back and forth from Sophie to her interrogator Robert Mohr (Alexander Held). Each of these many battles embody the conflict between the individual who dares to speak and the totalitarian regime that then confronts them; between naked courage and idealistic conviction. Sophie's sheer courage cannot displace the combination of indoctrination and self-interest that forces Mohr"s conformity to the slogans of Göbbels but he does begin to admire the prisoners spirit and determination.
In Sophie"s calm and yet somewhat impulsive refusal to conform to Hitler"s corrupted form of nationalism, loyalty to the unshakeable beliefs of one"s own conscience is explored within the specific historical context of 1940s Germany but is an issue that will forever remain relevant to the human condition. So simple is the films vision of the ordinary person who is prepared to rebel against societal decay that the horrors of the Nazi period need not be depicted in graphic scenes that would be a distraction from the human focus of the film. In neither cinematic nor human terms can this brilliant German film ever date.
The production of this black-and-white boxing masterpiece not only saved Scorsese"s life (by his own admission) but provides the most convincing evidence for the arguement that the total film knowledge held by members of the Academy can be imprinted on the tip of a blunt pencil.
Scorsese"s brilliance manifests itself in an ability to avoid allowing the gladiatorial ring-clashes never become the central focus. Whilst there are a number of intense yet balletic fight-scenes that take place against a smoky and sombre background and that force lasting images of skilfully choreographed pugilism, it is the human turmoil of LaMotta (the type of man who would gladly eat the children of a wimp like Rocky Balboa) that both enraptures and disgusts a morally confused viewer. DeNiro captures a man who is burdened by his own sins and whose greatest fight is with the demons he mirrors on those around him. With the assistance of Pesci as LaMotta"s brother, Joey, the two engage in continuous verbal sparring that ultimately culminates in physical conflict during the inspired "hit me" scene.
As a piece of tragic storytelling and cinematic command, Raging Bull cannot be beaten.
Steven Spielberg can forget the films, the awards, the adulation and even the money because it is only now that he has arrived. With the release of his perspectives on the clash of civilizations in the bloody aftermath of the 1972 massacre of 11 Israeli athletes at the Munich Olympics, fans should cast aside the resurrection of the tyrannosaurus rex as the point at which Spielberg finally achieved the impossible. Not until "Munich" had anyone been able to rise above decades of intifadas, assassinations and wars and successfully united the eternally divided Palestinians and Israelis. Admittedly, their tenuous and wholly temporary unison may be based on a shared hatred of Spielberg but the great-Jewish director has presumably concluded that personal sacrifices need to be made for the greater good.
The "funny" thing in all of this is that those on both sides of the divide, whose judgements are clouded by uncompromising attitudes, are staggeringly missing the point. Spielberg is exploring what he considers to be a never-ending conflict that is unwinnable and morally confused but still is perpetuated by the destruction suffered by all in the unrelenting paranoia. In its simplest form, the grey area reigns supreme as his prayer for peace (religion unspecified) depicts both sides as equally human. To take sides would be to endorse the trend of cyclical tribal conflict and be contrary to his emphasis on the pointlessness of obsessive revenge
Similarly, though, scholars of the Israel-Palestine struggle may contend that the director has been economical with the truth by basing the film on a book ("Vengeance" by George Jonas) that has been criticised as nonsensical embellishment. Their criticism would have validity did the film not open with a clear disclaimer stating that what follows is merely inspired by real events rather than being based word-for-word and breath-for-breath on precise actuality. As a film it is not a question of whether it is accurate or not, but, rather, whether it is believable. With this, only the naïve would fail to grasp that the situation in the Middle-East is much more complex than is suggested in this fictional, 150-minute movie. If, in spite of this, some still wish to view the action depicted as God-given fact then it is more an unfortunate consequence of their own stupidity than an indication of a deceitful Spielberg donning a Pied-piper mask and leading the helpless children to ignorant immorality.
It is by concentrating on the personal struggles of Avner (played by Eric Bana), the main protagonist and leader of an assassination team ordered to eliminate the architects of the massacre, that the wider issues can be addressed. Unlike the cool assassins of Hollywood folklore, able kill a crowd of sixty-nine ninja"s whilst eating a sheesh kebab and without breaking an eyelash, Avner is an identifiable everyman with a spectrum of emotions. In his physical and psychological deterioration, the toll of killing is evident and yet he is still torn between his conscience and loyalty to Israel. The latter being a circumstance of birth that defies logic but forces him to engage in a clandestine dialogue of death consisting of bullets and bombs.
In truth, and because of this "everyone-is-good-and-bad" conservatism, Spielberg"s ownership of the crown bestowed upon the golden boy of Hollywood will not be under threat. The lingering presence of the twin towers in the closing scene may be an indirect dig at President Bush and his war on terror but "Munich" cleverly bridges the gap between enjoyable all-action thriller and thought-provoking political lecture. That the issues relevant to the divided 1970s world are still relevant today leave a depressing and bitter aftertaste. Especially at a time when Scandinavian embassies burn in Damascus and an imminent war between radical-Islam and secular Europe looms (with Christian American already pursuing their own "Operation Wrath of God" in Iraq and Afghanistan). From the opening minutes in which re-enactments of the Munich massacre are interwoven with original footage and news reports, a convincingly mournful tone provides a heart that continuously pumps in both the nightmares and the actions of Bana"s Avner. Captured by this completely believable and tense drama, the audience watch in silent awe at masterful cinema storytelling. Simultaneously, such is the despairing hopelessness of it all that the popcornless onlookers sit solemnly in the gloom, surrounded by the sounds and continual images of painful death.
With a clumsy head butt rather than an delicate nod to Camus" "The Stranger", "United States of Leland" meditates on the inexplicable violence in post-Columbine, American suburbia by telling the story of one Leland Fitzgerald (Ryan Gosling), an introspective young man arrested after brutally stabbing to death the retarded younger brother of his drug addict ex-girlfriend. Confused yet? Narrative complexity is maximised as this solemn movie analyses Leland"s rejection of the system and asks the same big question Alan Brazil has been pondering since the moment of his own conception "Why?"
Leland is unable (for various reasons) to explain or even remember what he did or why he did it. As the world begins to implode and the protagonists question the notion of the American Dream, talk of the "sadness" by Leland during his period of self-exploration in juvenile hall is sufficient to enrapture Pearl Madison (Don Cheadle), the teacher at his detention centre and wannabe JD Salinger, who, in between chasing skirt with romantic "stamp"-chat, attempts to reach-out-to/exploit his new friend.
The acting and impressive cast (Spacey, Gosling, Malone, Cheadle etc) are noteworthy, especially Gosling whose infrequent yet revealing expressions of emotion imply a hidden accumulation of guilt, sadness, love, loneliness and disconnection. However, more interesting, and ultimately more contentious, are the constant platitudes about "life" delivered in nasal, monotone monologues by Leland. Is Leland some kind of perverted saint or just a cheerful psychopath? Thankfully, audience intelligence is recognised and the narrative does not explicitly hack together a prescriptive view to which the audience is expected to adhere. And whilst individual interpretation must be appreciated, the problem is that it may guide viewers towards confusing and ethically awkward alleyways likely to offend Simon Heffer, Peter Hitchens and any other comrade right of Margaret Thatcher.
For example, the sympathetic portrayal of Leland tends to gloss over his crime (that crime being that he mercilessly bludgeoning a handicapped child to death by stabbing him 19 times). Leland would no doubt point out that we are all "dying on the inside" and that stabbing a person 19 times is no worse than stabbing them 5 times if the outcome is still death, the "diet-philosophy" thrown out and allowed to marinate (minus the spicy bits) is naive and can border on self-conscious pretension. Especially when some of the profound messages appear inaccurate and confused. Foremost in this is Leland"s comment that "It's funny how people only say that ("I'm only human") after they do something bad." That Leland, is because the inclusion of "only" implies a limitation in man"s ability to live in a perpetual state of moral virtue and achievement. To say "I"m only human" after pulling Kirsten Dunst would be an asinine thing to say as it would imply fault or sin. Such a glorious achievement as enrapturing Ms Dunst would, instead, suggest "non-human" perfection.
As a film, the cinematic techniques deployed by writer/director Matthew Ryan Hoge do unnecessarily intersect unexplored subplots and thus hinder the natural tension such an emotive subject should create. The frequent disturbances provoked by non-linear storytelling and imposed biographical titbits marginalize the film"s central premise and diffuse any characterizations or momentum. Increasingly the film becomes dominated by disparate and unnecessary fragments of back-story for an overabundance of periphery characters (Leland's prison teacher, his nasty dad, his ex-girlfriend drug habits........)
Critics of the unambiguous ending overlook the thrust of the film and in their impatience neglect the message of moral doubt and questioning of the right/wrong distinction. The euthanasia debate the movie inspires is largely ignored in favour of the less touchy issue of violence among disaffected teenagers. Hoge"s insistence on presenting Leland as the face, heart and mind of the psychopathic adolescent loners whose mug shots are paraded on tabloids does not hempen enjoyment but leaves dissatisfaction at what this film, with a little more courage, might have been.
Few would have expected a film combining the greatest talents of "Bill and Ted"s Excellent Adventures" and "ET" to have produced a creepy independent thriller. And yet "Fever", directed/written by Alex Winters and starring Henry Thomas, is a dark and morose NYC drama, revolving around a neurotic artist, Nick, who resides in a squalid apartment building.
After the gruesome murder of his Polish landlord, Nick descends into madness via hallucinations, an unidentified fever, visits from his well-off but weird sister (a pre-Desperate Housewives Terri Hatcher) and an enigmatic Irish/Scottish Nazi Gnostic.
Winters successfully formulates a confused world with a blurry fusion of dream and reality. As the audience shares the surreal nightmare the secluded main character endures, the film becomes more haunting. Slow-pacing can often be described as a fault but, in this instance, has been intentionally deployed to create a sparse and ponderous narrative with a sinister atmosphere. Stationary camera shots are specifically used to ensure a voyeuristic ambiance. Winter"s dark, shadow-filled scenes suggest a confident director eager to utilize powerful, grimy imagery to convey specific emotions. The depiction of a hazy and ominous New York skyline by cinematographer Joe DeSalvo is noteworthy and certainly accentuates the intended mood.
Henry Thomas puts in an impressive performance as an engaging anti-sympathetic, anti-hero. His expressive face is able to communicate something mysterious and intense and his forceful acting remains subtle enough to suggest his peculiar character is in danger of toppling over the edge into a claustrophobic isolation. Conversely, his paintings and artistc talents indicate an undiscovered genius with a passion driven by self-doubt and insanity.
Whilst "Fever" is not quite the distinctive film-noir psychodrama it strives to be, it is a worthwhile attempt that disseminates an aroma of dread. It"s detailed examination of the paranoid raw emotions of an unsuccessful young man trapped in a bleak modern world allows individual interpretation and assumes the intelligent audience is willing to decipher Winters" creation. A less clichéd script, more eventful storyline and fewer instances of abrupt "shocking' scenes intended to conclude a period of tension would have improved this interesting and agreeable film.
It is not necessary for a film to have any purpose other than to offer enjoyment for the viewer. Biopics in the mould of Europa Europa are not normal films though. Dramatic license remains a key component and yet, by their very nature, they claim to have some relationship with a past reality. Unlike the surreal distraction (or monotony) provided by the average Star Wars/Trek flick they claim to depict a world that did or, at the very least, could exist.
In turn, the demands of the genre must give rise to two other purposes. The first is to become a two-hour homage to an individual. Virtues are then extolled and the predicable battle against adversity is accompanied by the most rousing score James Horner is able to muster (see Cinderella Man, Chaplin, The Aviator). The second genre-specific motive is to transcend the contracted worship of the individual and, instead, create a universal story of heroism, love, courage that will be as relevant tomorrow as it was/is yesterday and today (see Raging Bull, Downfall, Good Night and Good Luck). Europa Europa yearns to belong in the latter category but fails. The only message it conveys is that the individual can have no control over the path of their life and, when facing the peril likely to be inflicted by anti-Semites, should submit themselves to the Goddess of Luck (denomination irrelevant). Perhaps the director is justified in highlighting the role of fortune or chance as an uncontrollable driver on the journey of human life but to make the point in such a laboured and laborious manner is unlikely to convince or entertain anyone.
Salomon Perel's recollection of survival during the Holocaust could be as remarkable as any Primo Levi memoir. Separated from his family, captured by the Russians and then the Nazis and all the time concealing his Jewish identity, his mission was one of personal survival. Rather than be content with this human story and how his life was evidence of the artificiality of the whole Aryan obsession in Nazi ideology this episodic film drifts from tragedy to farce with ill-judged fantasy sequence in which Hitler and Stalin skip around like disturbed Morris dancers and Salomon is seduced on a train by a Nazi Fraulein.
With the obvious faults of suspect acting and an array of characters who weave in and out of the story, Europa Europa betrays an emotive narrative and leaves the viewer perplexed rather than moved.
Margot Fonteyn is beautiful to watch and these films were made way back in her career in the 60s before the defection of Nureyev to the west, and the partnership between them. Soames was Fonteyn's partner, a strong solid male dancer who excellently plays Princes and Knights to Margot's beautifully exotic firebird, light as air and magical and wild, her Swan Princess in act 2 of the ballet-a good classic performance, showing what a wonderful dancer she was; and her ethereal Ondine the water nymph who charms the knight. I loved Ondine when I saw it live many years ago. This was a very special role for Fonteyn, created for the partners, exciting modern ballet creation at the time telling a fairytale story. Alexander Grant was always a star - wildly exciting to watch as the water spirit he dances like a spirit indeed precursing the great leaps of future stars of the male ballet. The score by Henze is modern and suits the stylish production. There will never be a better Ondine. Old as the recordings might be now, they capture the wonder of our greatest British ballerina and show her at her youthful best. For any ballet lover this is a must have treat.
I requested this triple dvd boxed collection as a present, the Russian ballet companies have always been amongst my favourite and I knew one of the dvd collections already. The delight of owning a collection of divertissements from Bolshoi and Kirov ballet stars with the complete unseen ballets in the set was exciting. It is a must for ballet lovers. There are far too few performances on dvd from the days of Bolshoi glory and on the whole the recording quality is not good. The firebird new recording disc is sumptuous, beautifully filmed in a film studio. Petrushka too with live bear- colourful, beautiful and rich to watch but the star of the disc has to be Scherezade with some of the world's most beautiful music, as well as exciting vibrant dancing. I am glad this collection exists and would say to anyone who owned any of the past collection of works by Russian ballet companies and was disappointed by the filming quality and sound quality that these discs are outstandingly good and worth owning and will give years of pleasure to ballet lovers and music lovers all over the world.
'Sleeping Dogs', the first feature film from Bobcat Goldthwaite of Police Academy fame, tells the story of Amy, played by Melinda Page Hamilton, a girl with a very big secret from her college days. Unusually controversial for a film which, ultimately, is a romantic comedy, her secret concerns a spot of bestiality that she engaged in during a particularly lonely moment. Unfortunately for Amy, her secret cannot remain secret for ever and in a fit of post-coital honesty, she tells all to straight-laced fiance John. Needless to say, John does not take this revelation well and their relationship is soon crumbling, albeit in a comedic fashion. 'Sleeping Dogs' was apparently written in three days and then filmed in two weeks on a budget of only $50,000 and so it is not always the most polished of films. However, the jokes are dark and sharp and the necessary sentimentality is well managed, making 'Sleeping Dogs' a hugely entertaining surprise of a film.
Thought provoking and beautiful while at the same time intensely disturbing, 'Blood Diamond' gives a human face to the brutal conflict that ravaged Sierra Leone. Djimon Hounsou plays Solomon Vandy, a fisherman who is captured by rebel forces and put to work in a remote and, from the official point of view of the international diamond trading organisations, illegal diamond mine. After discovering and safely hiding an exceptionally large diamond, Vandy flees from the camp intent on reuniting the family he was separated from and then using the diamond to finance a better life for them away from their African home. Vandy is aided by Danny Archer, played by Leonardo DiCaprio, a South African soldier-of-fortune and diamond-smuggler who sees Vandy's diamond as his ticket out of war torn Africa. Due to its accurate portrayal of the plight of child soldiers and regular instances of graphic violence, 'Blood Diamond' is not always an easy film to watch but it has an important story to tell and features excellent performances and dazzling cinematography.
This the bill at its finest when it was worth watching unlike the soap opera it has become.I do wish the bill would go back to its roots.
A wonderful insight into the Moody Blues seen from the critics point of view. This DVD also includes some wonderful archive footage of The Moodies both before and after Justin Hayward and John Lodge had joined the band.
As a collector of all things "Moody" I was pleasantly surprised that there was a lot of footage that I hadn't seen before, in particular Justin and John singing their hit single "Blue Guitar".
My only criticisms would be that it is too short with the running time being only 51 minutes and that the album "Days Of Future Passed" was released in 1967 not 1964 as stated in the cover notes.
This site uses cookies.
More details in our privacy policy