March 10, 2010 at 6:03 pm · Filed under Hot Pics
The true story of the turbulent and essentially destructive relationship between poet Samuel Taylor Coleridge, William Wordsworth and his sister Dorothy Wordsworth.
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March 8, 2010 at 8:38 pm · Filed under Hot Pics
If you’re part of the group that’s protesting “Tropic Thunder,” claiming that the movie’s humor comes at the expense of the mentally disabled, then you may have lots of company in your picket line.
The new comedy directed by Ben Stiller desecrates pretty much all that is holy, including Vietnam veterans who write books, recovering drug addicts, pandas, Russell Crowe, the overweight, the flatulent, small Burmese children and whoever currently owns the rights to “Run Through the Jungle.” If you’re not offended by at least one aspect of this film, then you’re probably not getting out enough.
But “Tropic Thunder” has a secret weapon, which gives it an all-but-free pass when dealing with the forces of political correctness: The movie is laugh-until-your-stomach-hurts hilarious. Stiller and his strong cast also help their cause by delivering their most cutting lines at the expense of themselves and their brethren in Hollywood. It’s the type of movie that you would expect the main players to make only if they had just a few months to live. After his character’s speech about actors who don’t get Oscars when they go “full retard,” it’s going to be really interesting when Robert Downey Jr. runs into “I Am Sam” star Sean Penn at the next Vanity Fair party.
“Tropic Thunder” introduces each main player with a trailer for his next movie. Stiller is fading action star Tugg Speedman, Downey Jr. is Australian thespian Kirk Lazarus and Jack Black is Jeff Portnoy star of a Klumps-like sequel called “The Fatties: Fart II.” As the movie begins, their egos are clashing on the set of “Tropic Thunder,” a “Platoon”-style Vietnam War movie based on a book by Sgt. Four Leaf Tayback (Nick Nolte). When prima donna behavior threatens the production, the main characters are thrown into hostile territory, where they remain in character and keep complaining to their agents, even as the real-life situation gets progressively more dangerous.
Stiller and co-writers Justin Theroux and Etan Cohen could have stopped with that premise and had a very funny movie. Downey Jr.’s work as a pretentious white actor playing a black soldier (”I don’t read the script - the script reads me”) is worth the price of admission. But the writers constantly head in unexpected directions, cleverly including the reaction of Hollywood power players to the stars’ situation.
The result combines elements of “There’s Something About Mary …,” “The Player” and “Team America: World Police,” and yet almost nothing in “Tropic Thunder” is predictable or cliched. Minor characters, including a demolitions expert played by Danny R. McBride, are memorable. And as the tone changes from “Rambo” to an “Apocalypse Now” vibe, it’s good to have a grizzled veteran like Nolte around to keep things completely insane.
One of the best pieces of satire involves Speedman’s ill-fated starring role in a movie called “Simple Jack.” The jokes are clearly set up to make fun of actors who play mentally disabled characters in an attempt get Oscars, not the disabled people themselves. Several advocacy groups have asked moviegoers to boycott “Tropic Thunder.” But if anything, it seems as if they should be protesting “Forrest Gump.”
If you’re really into surprises, even one that has been out of the bag for months, don’t read the next two paragraphs.
Arguably the funniest part of “Tropic Thunder” is an over-the-top profane cameo by Tom Cruise, who plays megalomaniac studio head Les Grossman. In a handful of funny scenes, Cruise manages to make up for his contentious interview with Matt Lauer, that annoying bottle-flipping thing he did in “Cocktail,” all of “Far and Away” and whatever role he might have had in suppressing “South Park’s” “Trapped in the Closet” episode.
Cruise still needs to make up for that “Top Gun” beach volleyball scene and Katie Holmes’ Family Circus mom haircut, but his karma is closer to even than anyone thought he could achieve.
– Advisory: This film contains profanity, violence, gore, sexual situations and multiple international incidents, including a particularly gory one involving a panda. In the interest of world peace, “Tropic Thunder” probably shouldn’t open in China until the Olympics are over.
E-mail Peter Hartlaub at phartlaub@sfchronicle.com.
March 7, 2010 at 6:53 pm · Filed under Hot Pics
As Wendy, the good little witch girl, 10-year-old-time Hilary Duff was the cutest little thing, with a helium-pitched enunciate and slightly crooked teeth that looked honourable like any ordinary kid’s. No knockout Disney plucked her from the in the running for-up to star as Lizzie McGuire in a junior-high comedy three years later. Even at this pubescent length of existence, making her at the outset bearing on TV in this made-on-the-tube live-action weird fantasy, she showed a natural ability to control audiences. Childish girls first were expert to be turned on to to her as she waved her little wand to mutate clothes and to pinch back at people who tried to muss up b ruin with her.
And the young boys? They’ll controvert it, of course, but they liked her too. Duff seems the skilled presence to disparage elsewhere of special-effects ectoplasm shaped like Harvey Comics routine Casper the Brotherly Ghost, which debuted habit back in 1945. In fact, Wendy made her initially skein of geese into mirthful-words fancy in 1954, so technically Dud is playing a 44 year getting on in years.
Over the years, there beget been lots of laments that waggish-book characters aren’t made into better movies (translation: one that would still sue to the adults who hold addicted to memories of their servant-turning adventures), and that’s been the biggest slam on “Casper Meets Wendy.” It’s tough to get out of the tone right, and easier, manifestly, to upstanding go towards an over-the-top dinner theatre sentence structure that some capacity barely entitle “dumb.” But let’s recognize the audience here. As much as adults may have wished to would rather been included, it’s clear that this made-for-TV movie was targeted at children. If adults can appreciate anything, it bequeath be the George Hamilton’s performance as the turpitude warlock Desmond Spellman. He’s half his typical smarmy label, and half Vincent Quotation. To his credit, Hamilton seems to have fun with this, and for that matter, so do Cathy Moriarty, Shelley Duvall, and Teri Garr as Wendy’s witchy aunts.
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Children want warm to a familiar parcel of land which, for a Fox production, draws heavily from Disney fairy tales. In the beginning, shades of “Snow White,” we find Desmond looking into his mirror and asking if he’s still the most powerful. And the guy in the depict (Pauly Shore) tells him, nope, a scarcely girl named Wendy is more effectual.
Yep, a little piece, more powerful than the most vigorous warlock. Kids just eat this stuff up!
Desmond enlists two henchmen-among them, the recognizable Richard Moll (”Night Court”)-who dress counterpart Men In Menacing and carry staggering witch-blasting weapons to help him exterminate the witches. And when Wendy and her aunts get wind of his plan, they go into hiding (shades of “Sleeping Beauty”) and resolve not to utility their magic wands so they won’t be spotted.
In place of of a cabin deeper in the forest, this group goes to a resort that has as much in prosaic with a singles join as it does a country club. Casper, meanwhile, ends up at the same refuge because his uncles, the Unearthly Three (voiced by Jess Harnell, Jim District, and Note Farmer) want to unexploded the human obsession for a day. So they force themselves into the bodies of three losers and begin entire of the biggest massive-out sequences kids are likely to see in a PG-rated steam. Yuk, yuk, and double yuk.
March 5, 2010 at 3:28 am · Filed under Hot Pics
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March 2, 2010 at 7:03 am · Filed under Hot Pics
Heyday the Earth Stood Still, The
Keith Cervine
Rating: 5.5 Beans
he Day the Earth Stood Still" is a black and white classic BM Night movie about a visitor from another planet, Klaatu (played by Michael Rennie) who comes to warn the Earth that it is being watched. With his
sidekick robot, Gort (Lock Martin), he plans to talk to anyone who will listen to him. To his dismay, no one wishes to hear what he has to say, except of course the military (who shoot him just as he steps out of his space ship for the first time).
Klaatu runs away from the military and decides to get a nice room in the suburbs of Washington D.C., where he feels he may try to contact a more understanding group to convey his message to the world, college professors. He is still forced to prove himself that he has the power and technology to destroy the earth (like flying in a tin can for 80 billion miles doesn't prove that the aliens are far more advanced). So, he stops all electricity in the world for 1 hour not including hospitals or planes in flight (What a caring individual). Now that Klatuu has eveyone's attention, of course, the military finds him.
Will He Survive?????? Will the Earth obey his plea for the ban of nuclear weapons??? Will this movie ever end???? Does Anybody care?????? Certainly, I don't.
This movie is only good to a person who is a) completely intoxicated, b) a lover of propaganda films, or c) a commie bastard who was upset that we won the Cold War. This movie is poor quality from the beginning when the spaceship lands to the sad chase to save Earth at the end. Some suggestions
for the producers of this film….1) When a robot is made of some metal alloy that we cannot bend, it is customary that the robot would not be able to bend his knees when he walks. 2) Could you come up with a better name then Gort, It sounds like a shampoo. 3) Most of the time aliens from outer space, don't look like human beings, even when they try to look like
human beings. 4) Never make another movie again.
February 28, 2010 at 10:08 am · Filed under Hot Pics
In a radical change of pace from his darkly sardonic, 2004 killer road movie “Piggy Banks,” Morgan J. Freeman’s latest entry, “Just Like the Son,” travels a sunnier if similarly extra-authorized path to redemption. A 20-year-old with a covet sentence sheet of misdemeanors graduates to felonies — but it is not want it sounds: He “kidnaps” a 6-year-old from an orphanage and transports the kid to his sister in Dallas. Pic relies too heavily on the undeniable adorableness of its teensy-weensy star, but Freeman’s uncompromising just-up ahead approach cuts including the schmaltz. Too beneficial for the bigscreen, “Son” may find a residency on cable.
For his latest petty crime, likeable but shiftless Daniel (Mark Webber) is assigned janitorial duties in an East Village elementary school run by a caring but no-nonsense principal (Rosie Perez). There he meets the precocious Boone (Antonio Ortiz), an old-for-his-years kid.
When Boone’s mother is hospitalized and he is sent upstate to an orphanage, Daniel steals a car and takes off cross-country with Boone in search of the boy’s runaway sister.
Picking the occasional pocket, shoplifting or siphoning gas to expedite the trip, Daniel attempts to separate his “fatherly” advice from his poor real-life example. Freeman has always been fascinated by the ambiguous moral line that connects means and ends, but here the end is so sentimentally imperative and the means so relatively benign that no real conflict exists.
Similarly, the interplay between Webber’s boneless, hang-loose Daniel and the extraordinary Ortiz, a pint-size charmer who sports an enormous Afro and displays the aplomb of a 20-year veteran, never quite makes up in naturalness and warmth what it lacks in drama and tension.
Pic feels underscripted and under peopled; for a road movie, there are remarkably few run-ins with locals to validate the down-times. All too often, the actors are left to their own devices.
Shot in Super-16mm, Yaron Orbach’s cinematography under Freeman’s self-confident direction belies the blandness of the action, while Dean Wareham’s and Britta Phillips’ travel-friendly score provides jaunty interstate accompaniment.
February 26, 2010 at 7:43 pm · Filed under Hot Pics
Back for seconds is Antonio Bandares and Carla Gugino as Gregorio and Ingrid Cortez, master spies and master parents. Bandares and Gugino have little cloak time in this skin and their be of cool-headedness is felt. The scenes in which they do manifest blaze.
Playing the title characters are Alexa Vega and Daryl Sabara as Carmen and Juni, now fully integrated into the spy world. Both kids do very well in carrying most of the film but can?t overcome some of the clumsiness caused by the film?s shallower moments.
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But, after all is said and done, ?Spy Kids 2: The Island of Lost Dreams? is a cheery kid?s film perfect for a Saturday matinee. Although adults might find the film a bit sugary, there is a lot of special effects, gadgets and toys for the kids (and McDonald?s) to get excited about.
For its good-natured innocence, ?Spy Kids 2? gets 3 stars and is rated PG for action sequences and brief rude humor.
February 23, 2010 at 8:33 pm · Filed under Hot Pics
Last Life in the Universe
Thailand/Netherlands/Hong Kong/UK 2003
Reviewed by Ryan Gilbey
Synopsis
Our synopses give away the plot in full, including surprise twists.
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Kenji (Tadanobu Asano), who works as a librarian at the Japanese Cultural Centre in present-day Bangkok, entertains suicidal fantasies. As he is about to hang himself, his brother, who is on the run, arrives with a mysterious package and moves in. Later, Kenji's brother brings an associate back to the apartment. The man shoots dead Kenji's brother, and is in turn killed by Kenji, who has opened his brother's package to discover a gun inside. Kenji is perched on a bridge, preparing to throw himself into the river below. Behind him, a teenage girl named Nid (Laila Boonyasak), whom Kenji has seen earlier in the library, gets out of her sister's car and is mown down. Kenji accompanies Nid's sister Noi (Sinitta Boonyasak) to the hospital, where Nid dies.
Kenji and Noi go back to Noi's house, where they stay for the next few days. The pair gradually grow closer, despite the threats of Noi's ex-boyfriend, who attacks Noi before Kenji intervenes. Eventually it is time for Noi to leave for her studies in Osaka. Travelling in the opposite direction are three yakuzas hunting Kenji's brother. At Kenji's apartment, they find and kill Noi's ex-boyfriend, who had come looking for Kenji. Kenji himself, who was in the bathroom when the yakuzas arrived, is last seen handcuffed in a police interview room, speculating on Noi's new life.
Review
For his fourth feature,
Last Life in the Universe
, the Thai director Pen-Ek Ratanaruang attempts to tell in abstract terms what could have been a fairly generic story, about a loner, Kenji, who hides out with a beautiful young woman after killing his brother's assassin. The picture is set in Bangkok, but the under-populated locations suggest some kind of netherworld. The apartment inhabited by the suicidal librarian Kenji might have come out of a flat-pack. The bleached-out, off-season seafront resembles Wigan with palm trees.
Kenji's suicidal fantasies are played out as if they were real, and it's tempting to conclude that he has succeeded in one of his numerous suicide attempts, and is actually drifting through the afterlife. This reading is supported by the enigmatic title, and by its appearance on screen a full 35 minutes into the movie, prior to Kenji moving in with Noi, the young woman he has met, imposing on the action a sense of 'before and after'. The mystery of whether Kenji is dead or alive is soon supplanted by the question of whether anyone will answer the telephone that rings constantly in Noi's house. It might be a symbol for the characters' failure to communicate, or their enduring loneliness; it is also a mighty distraction from the film's sparsely beautiful score.
But then
Last Life in the Universe
quickly comes to seem like a movie built on wilful misjudgements. It's an unsuccessful experiment in combining genres that are as irreconcilable as oil and water. Those parts of the movie that are primarily plot-driven, involving such stock elements as a trio of yakuzas and a concealed gun that is discovered by Kenji in time to be used in self-defence, strike a note of half-hearted pastiche. There is a whiff of Tarantino about the gangster who explains his lack of baggage to a check-in assistant by hissing: "We only go to kill someone, then come straight back," while Pulp Fiction (1994) springs inevitably to mind when Kenji is detained in the bathroom by a bout of diarrhoea as a shoot-out takes place in his living room.
The superior material, closer in tone to Ratanaruang's bittersweet Mon-rak Transistor (2002), is confined to the film's middle section, focusing on Kenji and Noi. Here the picture incorporates magical realism: the scene in which vases and books dance back on to their shelves as if by the hand of a poltergeist echoes the giddy joy of the 'Sorcerer's Apprentice' sequence from Fantasia (1940). Kenji occasionally imagines that Noi is actually her late sister Nid, with whom he has become fascinated. Ratanaruang obligingly mixes up the actresses, who are real-life sisters, just as Buñuel cast Ángela Molina and Carole Bouquet in the same part in That Obscure Object of Desire (1977).
It's hard to see what Ratanaruang and his co-writer, the novelist Prabda Yoon, thought they might be making with this unusual hybrid work, this graft that doesn't take. Neither of the film's distinct sections provides nourishment to the other. There is just enough narrative to make it frustrating that more of the guesswork hasn't been eliminated from the plot, but too much to allow the relationship between Kenji and Noi to unfold at an organic pace. This is a film that won't surrender even the most fundamental data. Time and place, chronology of events, the distinction between life and death - these things are secondary to an atmosphere of obtuse whimsy. Strange, then, that this atmosphere is readily disrupted with pointless in-jokes relating to Ichi the Killer (2002), the star (Tadanobu Asano) and director (Takashi Miike) of which both feature in the cast.
It's fitting that, in a movie which represents a tug of war between incompatible ideas and styles, Ratanaruang appears throughout to be wrestling for control with Christopher Doyle. This cinematographer brings to his work a more forceful personality even than some directors. That was the problem on Motel Cactus (1997), where Doyle swamped Park Ki Yong's sense of his own film, and it becomes an issue again on
Last Life in the Universe
. So many of the most emotionally rich scenes are diminished by Doyle's decision to shoot Noi's house like a poverty-chic fashion spread from an early-1990s issue of The Face or i-D. If that wasn't the director's idea, he should have said no, just as he should have vetoed the camera moving under a table mid-scene to observe a panting dog, or loitering at the back of a fridge as the door is opened, both for no apparent reason.
Credits
Director
Pen-Ek Ratanaruang
Producers
Nonzee Nimibutr
Duangkamol Limcharoen
Wouter Barendrecht
Screenplay
Prabda Yoon
Pen-ek Ratanaruang
Director of Photography
Christopher Doyle
Editor
Pattamanadda Yukol
Production Designer
Saksiri Chantarangsri
Music
Hualampong Riddim
SmallRoom
February 21, 2010 at 6:23 am · Filed under Hot Pics
The before three
Celebrity Wars
were epic. The next two, not really. Now George Lucas has pulled out of pocket
all the stops and finished the cycle with
Payment of the Sith
By
RICHARD CORLISS
Posted Sunday, May 1, 2005
Toward the ruin of
Revenge of the Sith
, the malefic Darth Sidious advances on Yoda, most of whose comrades on the Jedi Council possess been cruelly cut down as the Republic is betrayed and the evil Empire spreads its vulture wings. "At last," the Sith lord hisses, sensing victory over a foe, "the Jedi are no more." Yoda, with all the knowledge and power of the Force compacted into a two-foot fur ball, squints sternly and issues harmonious of his upside-down oracular sentences: "Not if anything I have to say about it."
The
Star Wars
saga could have ended 22 years ago, when
Return of the Jedi
concluded the trilogy of space-fantasy films that revolutionized mass entertainment, from the making and marketing of movies to the design of toys and video games. George Lucas' exhausting eight-year adventure?one that no studio had wanted to finance?turned into an improbable triumph.
Star Wars
(1977),
The Empire Strikes Back
(1980) and
Jedi
(1983) earned $1.3 billion worldwide, back when that was real money. Lucas became one of the richest men in movies, the bright lord of his own destiny. Now he could direct those artsy little films he kept saying he wanted to make.
One problem, one long, tantalizing loose thread. In Lucas' eyes, the
Star Wars
odyssey was wrapped up only at one end. He had shown how Luke Skywalker marshals a band of rebels "to destroy the Sith," as the prophecy had it, "and bring balance to the Force." Still, in the filmmaker's mind was another, more complex tale: how ambition can twin with obsession and twist toward the dark side?how Luke's father Anakin devolved into the deadly Darth Vader. Lucas' brain teemed with plots and characters, exotic creatures, worlds to be spun out of the words and sketches in his notebooks. Also, by numbering the extant episodes IV, V and VI, he was implicitly promising a prequel trilogy to the millions of
Star Wars
fandroids.
"So I said, 'Well, I'll do the last three because if I don't, I'll probably regret it,'" he recalled recently, sitting in his office at Skywalker Ranch, the 6,500-acre Marin County, Calif., production facility that his
Star Wars
largesse bought him. "And then I got a lot of people saying I was going about it the wrong way." But Lucas' gift, maybe his burden, is an artistic stubborn streak?a determination to follow his own voice and style. Change the course he had set? Not if anything he had to say about it. And, really, he had the only say. "I said, 'I want to tell this particular story in this particular way, and we'll just get there.'"
On May 19, you'll see where they got: back, finally, to the beginning. The narrative arcs of the grand epic, gracefully bending in a double helix, will be complete. Anakin (Hayden Christensen), the handsome, headstrong young Jedi, will be lured by impulses both arrogant and poignant to collide with his awful fate. Under Darth Sidious, the Sith Empire will shred and swallow up the fragile Republic. Anakin's Jedi guru, Obi-Wan Kenobi (Ewan McGregor), will scuttle into hiding, as will Yoda. Over the galaxy, the silence of repression will fall, broken only by the cries of two infants, Luke and his twin sister Leia. "This is the movie that people have wanted to see," says Christensen, who in Sith steps confidently into Anakin's turbulent and agonized manhood. "And it does it in a clever enough way that you're never a step ahead of the story." …
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FROM THE MAY 9, 2005 OUTFLOW OF TIME JOURNAL; POSTED SUNDAY, MAY 1, 2005
Copyright © 2005 Time Inc. All rights reserved.
Copying in whole or in get without sanction is prohibited.
February 19, 2010 at 10:03 am · Filed under Hot Pics
Story follows the ascent of mankind into the near-future space age result of minimalist performances and a conclusive visual technique.
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