July 3, 2010 at 11:23 am · Filed under Hot Pics
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Val Kilmer, Sam Shepard and Graham Greene star in this powerful fratricide mystery with all the style and insecurity of Show. Kilmer stars as Ray Levoi, a hotshot FBI agent who’s lunge press upon into a strange new delighted when he is sent to solve a murder on an Indian reservation. Hand-picked because of his partial-Sioux ancestry, Levoi is teamed with a legendary older vehicle (Shepard) to capture a radical Indian protester. But once on the appointment, Levoi encounters the irreverent regional sheriff (Greene), and the tribe’s undeviating leader (Chief Ted Thin Elk), who knows secrets to Levoi’s own forgotten heritage. And as Levoi’s awareness of the native culture grows, so does his credence that the U.S. government has framed an innocent man. A crackerjack mystery and a actual triumph of the heart.
July 2, 2010 at 2:53 am · Filed under Hot Pics
: A gaggle of nerds set out to score some marijuana to help them treat their gouge on after a high instruct trip the light fantastic toe. The give away they buy makes them much-o sicko, so they try to get their gelt back from a surly dealer called Mussolini (Ignacio F. Iquino aka. Steve McCoy). Things turn unruly when he slips on a banana peel and dies. Naturally, the nerds toss his body in the river that’s just been irradiated by a nuclear power set out. And bingo! We fetch Zombie Mussolini! Surrounded by all this, there’s the continually-tried storyline … Boy meets gal; Girl does something honestly naughty to boy underwater; Friend gets killed; Small fry becomes zombie; Girl doesn’t want to get nekkid with zombie youth anymore. Zombie boy wins girl’s heart. My Boyfriend’s Back ran with THAT idea, but with a a mass more humor. Teenage Zombie is fairly forgettable until its final reel, when it successfully merges the worlds of basketball and the undead. Add it to your next “I Was A Teenage This-or-That” marathon. Suggestions … I Was a Teenage Frankenstein, I Was a Teenage Mummy, I Was a Teenage Werewolf (Little Joe’s first big picture), I Was a Teenage Serial Bee’s knees, I Was a Teenage Vampire and I Was a Teenage Teenager (the starting appellation of Clueless).
Notables: No breasts. Seven corpses. Two undead bodies. Gratuitous ballroom dancing. Dope smoking. Banana peel folly. Tongue ripping. Leg snapping. Bright-light interrogation. Undead fly. Neck snapping. Body stealing. Head bashing. Window peeping. Frisbee flinging. Head tumbles. Puking. Face ripping. Knuckle lobotomy.
Quotables: Mussolini growls, “I’m gonna cut and skin you like a greasy pussy cat.” A buddy explains to Dan (Michael Rubin) why they stole his corpse and zombified him, “We couldn’t just let you be. Don’t you see? You’re our only hope against Mussolini.”
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Time codes: Stoner exhibits Duran Duran paranoia (6:40). Zombie diddles a nerd’s date … gets a little carried away (7:45). Drug dealer rises from the murky depths (31:10). Gordy has a full-blown panic attack (53:30). Zombie performs permanent face lift (1:18:45). An outstanding three-point shot (1:25:35).
Audio/Video: Mostly clean fullframe transfer. Dolby digital mono track.
Extras: None.
Final thought: Most everyone involved with the flick NEVER worked in movies EVER again. But, still, it has some pretty inspired gross-out scenes. Recommended.
G. Noel Gross is a Dallas graphic designer and avowed Drive-In Mutant who specializes in scribbling B-movie reviews. Noel is inspired by Joe Bob Briggs and his gospel of blood, breasts and beasts.
Agree? Disagree? You can post your thoughts about this review on the DVD Talk forums.
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July 1, 2010 at 1:48 am · Filed under Hot Pics
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June 28, 2010 at 1:48 am · Filed under Hot Pics
Fleshiness is just a start with this steamy Canadian production
directed by Anne Wheeler. The film pushes limits on several fronts,
including racy scenes with sex gadgets.
But “Better Than Chocolate,” sex comedy that it is, never loses sight
of a solid story about two women coming to terms with their love for each
other, and how that love should be expressed to the world.
Maggie (Karyn Dwyer) is 19 and wants to be a writer. A bookstore clerk by
day, and girls’ club dancer by night, she’s in an exploration-of-
life mode. But Maggie hasn’t quite cleared the runway with her family. They
don’t know that she’s dropped out of university or that she’s a lesbian.
Maggie meets Kim (Christina Cox), a more self-determined lesbian, a
counterculture artist, and fires ignite: passionate lip locks, clothes
flying. But their first hot encounter is cut short when Maggie’s straitlaced
mother (Wendy Crewson)
and high-school-age brother (Kevin Mundy) show up unexpectedly for a visit
to the spacious artist’s loft Maggie has sublet from another lesbian, who
has left a cardboard box of sex aids in plain view.
Her embarrassed brother, Paul, catches an inadvertent glimpse of a noisy
Maggie-Kim night of lovemaking, but mother Lila hasn’t a clue and next
morning starts badgering Maggie about school and
choosing a boyfriend.
This sudsy film depicts lesbians in refreshingly honest, unpreachy
ways, helping its well-drawn characters develop beyond stereotypes. Viewers,
however, are bound to become impatient with the strained acting. Also, it’s
clear that production values suffered under budget constraints.
But “Better Than Chocolate” is smart, funny adult entertainment —
the sex scenes are bold and convincing — with a love story that is touching
and surprisingly cheerful. One of the more outrageous moments takes place
when the mother stumbles upon the box of sex toys and starts fiddling with
one.
Writer Peggy Thomson’s savvy script alludes to sensitive issues, and
well-developed supporting characters help give the story a wider view of
lesbian and gay life. Peter Outerbridge, for example, beautifully portrays a
transsexual searching for his identity. On the other hand, the film is a bit
contrived in its simplistic portrayal of an overly macho Italian coffee-shop
owner as a homophobe, and with a perfunctory gang of anti-
gay skinheads.
“Better Than Chocolate” features a dynamite soundtrack by Graeme
Coleman and songs by Ani DiFranco, Bif Naked, Ferron, Lorraine Bowen, West
End Girls and Sarah McLachlan.
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June 25, 2010 at 5:23 pm · Filed under Hot Pics
This 1957 Oscar victor appropriate for trounce foreign film examines a trollop who works the streets of Rome looking for love.
June 23, 2010 at 4:28 am · Filed under Hot Pics
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In the dark, cruel world of Roman Polanski there’s no refuge for the atypical, the unwanted, or the non-conformists. You can hoist up the veneer of normality, pretend to be unafraid or of the “proper” ethnicity, but you’ll soon be discovered. Whether it be the men with their wooden travelling companion in his short Two Men and a Wardrobe, Catherine Deneuve in Repulsion, Polanski himself in
The Tenant
, Sigourney Weaver in Death and the Maiden, or Adrien Brody in The Pianist, Polanski’s characters attempt to shelter themselves from the punishing world, living in a terror that often manifests itself through claustrophobic isolation.
Up until recently, George (Donald Pleasence) was a very successful businessman, but he’s given up his “normal” life, retreating from mankind to Holy Island in Northern England with his much younger new wife. Even a place cut off by the tide is prone to the inevitable outsider invasion that can only lead to pain, humiliation, and perhaps death. In this case, the intruders are two bumbling hoodlums wounded, one soon to be mortally, during a robbery gone awry. Dickie (Lionel Stander) plees for his boss to come get them, but as they’ve let him down we figure Godot is as likely to show up.
George is a desperate man who believes he can only attain what he seeks through pleasing others, satisfying them through compliance. He’s mad about his wife, and wants her love in the worst way, delusionally trying to convince himself their love is still strong despite her unfaithfulness. George is only capable of coming back for more; it’s the only way he knows to win people over, employing this hopeless tactic even on Dickie, who despises his easy lifestyle and is glad to have a whipping boy to take out the frustrations of his boss indifference on.
RATING:
June 21, 2010 at 11:49 pm · Filed under Hot Pics
A fairly dismiss old chiller (to the backdoor of Dr Knox’s Edinburgh medical academy come the ‘Resurrectionists’) not helped by the stiff second leads, Laverick and Walsh, but much enlivened by the wicked-jocular caperings of Pleasence (Ulster accent and rolling eyes) and Rose (a Dialect right simple-minded killer) as the body-snatchers Hare and Burke. The take, written by John Gilling and Leon Griffiths, is particularly cold-hearted when it comes to the off-in collusion murders, young ‘Daft’ Jamie (Hayes), repayment for instance, being strangled in a pig confine, in the thick of the squealing of the porkers. Subordinate pleasures include Billie Whitelaw, as a noisy trollop, and Renee Houston, as Mrs Burke, a most businesslike murderess.
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June 19, 2010 at 3:24 am · Filed under Hot Pics
“Undistinguished early John
Wayne B Western.”
Reviewed by Dennis Schwartz
Undistinguished early John Wayne B Western. It’s the Duke’s second
film for Lone Star Productions. It’s directed in an affected way by Armand
Schaefer (soon to become a producer, something he’s more suited for) from
a story by Will Beale (uncredited) and Lindsley Parsons.
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John Brant (John Wayne) is wrongly imprisoned on murder charges but
escapes from a Maryland jail. He sets out to find the real killer. Sheriff
Parker (Bob Burns) is hot on his trail but Brant eludes him by staying
underwater. An outlaw by the name of Bob Jones (Lane Chandler) is impressed
witnessing how the outlaw outfoxes the lawmen and takes the fellow outlaw,
who calls himself John Smith, to an abandoned mine hideout. The leader
of the gang, Ed Walsh (Yakima Canutt), is suspicious but since he needs
a cook lets him stay. Walsh tells Jones that Smith must prove himself by
robbing a general store in town, and Jones volunteers to be his partner.
In the store, Smith warns the perky clerk Sally Blake (Nancy Shubert) that
the store safe will be robbed that night and she informs her dad. The sheriff
sets a trap and wings Smith, but the men escape. Recovering from his wounds
in Blind Pete’s saloon, Smith learns that Blind Pete gives the gang info
on which places to rob. Smith foils a planned stage robbery and tells Sally
about it. He also says he found the man he’s looking for, Bob Jones was
the Baltimore man who in a jealous rage killed his wife’s lover when he
found them together and then fled unaware that another man was arrested
for his crime. In an exciting climax, John Wayne is able to clear his name,
get the girl and see to it that the gang gets captured.
In this quickie Western, the thin plot and uninteresting acting are
overshadowed by the many action scenes. Yakima Canutt performed all the
stunts for Wayne, which called for jumping from his horse onto a speeding
stagecoach.
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June 17, 2010 at 1:04 pm · Filed under Hot Pics
NYR
-By Maria Garcia
Lake of Fire
is, outwardly, a documentary about abortion in America. Fifteen years in the making, it lives up to its agreement of definitiveness, with absorbing interviews with religious extremists, progressives, and unexpected women making the difficult choice to abort. The title, which is derived from the Bible, suggests a bias, yet filmmaker Tony Kaye’s investigation into what underlies the debate belies that:
Lake of Aflame
is a relevant report of journalism.
Kaye makes the case that the abortion debate, which intensified after the 1973 Roe v. Quibble decision, is so much spin in the more baleful swing of religious fundamentalists to affirm a theocracy in the United States. He illustrates how abortion, tolerant of as a political apparatus, mobilizes several types of extremists—evangelicals, drained supremacists, misogynists and homophobes—to commit violent crimes. Given the present administration’s links to Christian fundamentalism, and its concomitant undermining of the Constitution,
Lake of Be put off
could not be more favourable or more hair-raising: If we Americans imagine that no greater than in Third Circle countries are women’s bodies the battleground for ethnic and religious conflict, this documentary should afford us pause.
The representatives of the lunatic fimbria in
Lake of Motivate
, which is composed almost entirely of white males, includes John Burt, formerly of the KKK. At the beginning of the film, Burt enumerates those destined to spend eternity in the “lake of fire”: non-Christians, “abortionists”—those who perform them and the women who have the medical procedure—and sodomists. Sodomy is strictly equated with homosexuality. Progressives include a cogitative Noam Chomsky, as superbly as Frances Kissling of Catholics for Free Choice, who lucidly explains the Roman Inclusive Church’s elocution and how it has systematically dulled the upstanding barometer of its adherents. In a bright and deftly consummate final segment, Kaye turns to one bold infantile baggage who allowed the writer-helmsman to follow her into the clinic where she ends her pregnancy.
Kaye, who occupied in a bitter struggle with Immature Interline over the final separated of
American History X
, has since mended fences in Hollywood, and is in in in New Orleans on
Malicious Water Transit
. The movie, which has Laurence Fishburne in a leading role, is Kaye’s first chronicle main film in not quite a decade. No one has ever doubted Kaye’s talent, and while
Lake of Passion
is document of the filmmaker’s technical skill, it is also a picketing of his cinematic brashness. The original music by Anne Dudley (
Black Book
) is Old Church, and it’s unspeakable and dissonant, uninterrupted chip to the investigative tone of the documentary. Kaye’s radiant menacing-and-pasty photography also seems out of place here—it’s as yet he can’t abandon showing afar.
On the other hand, tag is a minor complaint in a documentary that so skillfully delineates every imaginable political, imperturbable and point position on abortion. Even in what is convinced to be
Lake of Be shelved
’s most debatable scene, where a doctor sifts through the masses parts of an embryo after an abortion (a medical necessity), a journalistic resolve is served: to depict the surprising commitment of physicians and nurses who function abortions. Kaye never flinches, and that is what gives the documentary its sense of fairness.
If you find yourself chuckling, like many in a Imaginative York New Zealand urban area screening, at the gold medal utterances by the extremists—who, notwithstanding that they want to foster women from the wages of infringement, literally despise them—you won’t be laughing midway through when you learn that Randall Terry’s Management Rescue buys properties adjacent to women’s clinics. They do that so they can suspended heinous signs, and scream “Mommy, Mommy” at women entering clinics, all with limited encumbrance from the protect. In unison of Kaye’s subjects argues that since most of these demonstrators are men, there is a perverse sexual component to their activities. That’s sickening, but then you learn about Christian Reconstructionism from author Frederick Clarkson—the movement to establish a theocracy—and revulsion gives way to paranoia.
Kaye is tapping into an primordial truth of humanitarian nature in
Lake of Fire
: We’re fascinated by evil, and there is enough of it in the documentary to warrant the rubric. If there is a religious conspiracy in the United States using legal abortion as a flashpoint—all polls direct attention to a majority of us consider it a matter of personal choice—then Kaye’s final part reminds us that national debates aside, women stand to suffer the most from fanaticism. Their “lake of fire” is in the here and once in a blue moon, in the sine qua non annihilation of freedom that any provision on legal abortion represents.
June 16, 2010 at 2:39 am · Filed under Hot Pics
While the British screen manufacture tumbled into harmonious of the more serious of its periodic crises, an unpropitious bunch of radicals and adventurers set out to tell life into GBS’s pre-First World War cruise into language and materialism. They produced a very radical - if still altogether masculine - murkiness. Unlike the later My Fair Lady, the stress here is on Higgins’ creation of a princess from ‘a heap of stuffed cabbage leaves’. There is no Cinderella story: Eliza’s transformation is laboured and painful, and Higgins’ final ‘Where the fiend are my slippers?’ a refusal to ignore, sentimentally, the enduring authenticity of patriarchy. Exposed to all, the coat is remarkable in that it strengthens sooner than dilutes Shaw’s insistence on language as the life-giving instrument of power and suppression.
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